After

It didn’t fall so much as it unfolded.
One minute, the sky was a familiar ceiling,
and the next, a bruise began to spread from the center out,
smothering the sun until the light felt thin,
brittle enough to snap between my fingers.

You don’t realize how much the light holds you up
until it’s gone.

Now, the air is thick with the soot of burned-out stars.
The iron draft of a closing door has changed everything,
it’s a predatory thing.
It’s in my bones now, pulling my shoulders toward the dirt,
turning my footsteps into heavy prayers that no one hears.
My knees have forgotten the habit of standing.

There is a cold, dense knot where my chest used to be,
a collapsed star, a private black hole
feeding on the scraps of my better days.
It doesn’t just take, it erases.
It has swallowed the before, the maybe, and the us,
leaving only this heavy, crippled silence
where my heart used to beat.

@doddyokelo

The Unsent Text

The number sits there, plain as unstacked wood,
A short row noted in the mind’s own slate.
The path to use it has been long understood,
And all the tools are ready on the gate.
No mountain to be crossed, no debt to pay,
It’s only patience that I choose to spend.
I’ve kept the thought inside me for a day,
A waiting letter that I will not send.

I tell myself the courage yet remains,
That it is wiser to be quiet just now.
The simple act is subject to the soft rains,
The slow bend of the unpicked apple bough.
It is not cowardice that makes a man delay,
But seeing clear the cost of the last turn,
A field can wait for plowing one more day,
But once you light the fire, it must burn.

The true work is not the reaching out with haste,
But in the long regard I give the wire.
A man must know what he intends to taste,
Before he builds a larger, hotter fire.
I know that once the single stone is thrown,
The ripples travel outward from that date,
And must be met, once they are fully grown,
At the slow-built fence where I’ve chosen to wait.

@doddyokelo

Monday, But Why ?

I am tired,
shrunken, chilled, and worn at the cuffs of my soul.
The night itself, a careless laundress,
folded me wrong and ironed in the creases of a bad mood.

My thoughts are heavy, they are a parade of strangers
wearing wet wool coats, stomping through the hallways of my mind.
And my intellect is bald, yes, but worse,
a barren, frozen tundra where not a single rebellious idea
has the audacity to sprout.

It is Monday.
the same old cracked vinyl of a gloomy chorus,
stuck, skipping, repeating the universal dullness.
My strength is a barometer at zero,
my motivation a phone on airplane mode.

This is the taste of it,
Monday, served on a cold porcelain plate.
Bitter at the edges, bland and beige in the middle,
a main course of immediate responsibilities.

But really,
why must Monday always show up like a guest who never takes the hint to leave?

@doddyokelo

Crunchy Honest Chips

I was born just outside my father’s home. I mean outside the fence. Not in a hospital. Not in some sterile maternity ward with nurses who smell like Dettol and sigh through masks. No. I came into this world the traditional way, on ancestral soil, barefoot and bold, like a true son of Asembo. My grandmother delivered me. I’ve said this before, and I’ll say it until my tongue is weary, it’s something to be proud of. It’s raw. It’s traditional. And I guess, so am I.

Asembo is about 15 minutes away from Raila’s Opoda Farm. But this is not about him. This is about home. Or the idea of it. Because although I was born there, I didn’t grow up there. In fact, it took me seventeen years to return. And when I finally did, with the awkward gait of a visitor in his own past, I found our home was no longer a home. It had become a farm.

The only proof we were ever there are the graves—traces of my father, my uncle, my grandmother, and my grandfather. The cement doesn’t crack. It holds secrets. They told me the land is mine now. Or at least part of it. My father was the last born, and in our traditions, that means the home was his. By extension, now mine. But what do you do with a piece of land full of ghosts?

There’s another parcel—12 acres or so. I didn’t earn it. Didn’t break my back for it. Didn’t argue with chiefs or attend land tribunal hearings in stuffy rooms with men who say “utu ni utu” before betraying you for a bribe. It was passed to me like a baton in a relay. A gift from the dead. So no, I’m not bragging. And even if I was, who really wants to sweat for something they can get for free? This is Kenya, after all. We queue for handouts and call it luck.

I grew up in bits and pieces—Homa Bay, Kisumu, Rongo. Like a nomad in search of permanence. In 2007, my mother built a modest house in Rongo. That’s home now. We live there with strangers who’ve since become family, the kind you don’t choose but grow into like an oversized sweater that slowly starts to fit. In Rongo and almost everywhere else in Luo Nyanza, people intermarry—Luos, Luhyas, Kisiis. But not Kikuyus. No, Kikuyus are where the line is drawn.

Luos hate Kikuyus and Kikuyus hate Luos. That’s the story we were handed by the colonialists—wrapped in propaganda and sprinkled with enough suspicion to last generations. Divide and rule. And rule they did. Now we inherit the hate like old family furniture we’re too proud to throw out. We say things like: “A Luo is a witch with a sack of rituals on his back” or “A Kikuyu is greedy and selfish” or that “Kikuyu women kill their husbands.” What is that? That’s not wisdom. That’s premium-grade poetic cow dung.

Ask anyone for proof, and they’ll stutter like a bad radio signal.

I don’t believe in what I haven’t seen. I won’t condemn a whole tribe because Otieno once borrowed your charger and never returned it. Or because Wanjiku blocked you on WhatsApp after you bought her chips kuku.

If that makes me fallacious, then call me a walking fallacy.

And listen, Kikuyu women are beautiful. Not the stereotypical light-skinned, big-chested, flat-behind and thin legs that don’t match the body types, those that your uncles warned you about. No. These days, they come in thick—size sevens with curves that look like they were negotiated in parliament. Faces sculpted like the gods used cheekbones as currency. And thighs, God help us, thighs the colour of roasted cashews—thighs that can save entire nations.

I’m dating one. A Kikuyu. Six years now, give or take a few breaks that almost broke us. Her name is Koi, but if you know her like I do, you call her Spiky. And Spiky? Spiky is divine.

Spiky is what you’d get if elegance had a baby with audacity. She walks like confidence and still laughs like she was raised by love. Her skin is caramel dipped in honey, the kind that makes you wonder if sunlight took lessons from her. Her smile is a gospel that can turn a hard man soft. She’s smart, too. Smart with the kind of intelligence that knows when to speak, when to keep quiet, and when to look at you in a way that makes you question all your life choices.

Her body is poetry. The kind of body that makes you want to write odes in traffic. Her mind is a map. Her heart is a home I keep returning to. Even when I say I’m done.

I am not here to convert you. I am just here to say—love is not tribal. Neither is beauty. Neither is home.

Some of us were just born outside, by grandmothers with hands strong enough to deliver a future.

And maybe that’s enough.

It was 2AM or thereabouts. You know that hour that’s neither here nor there—when the silence feels staged, like the night is watching you back. I wasn’t asleep, of course. My insomnia is back. It always returns like an old lover who doesn’t knock, just walks in and makes itself comfortable.

Spiky was up too, prepping for one of her strange shifts. She works those ungodly hours, where your body wants to rest, but capitalism wants a report submitted by 5:45AM. I decided to keep her company, texting back and forth. In the middle of our banter—whose contents I won’t get into, partly because I’m lazy and partly because it might send you off on a tangent—we veered into a detour.

“There’s a Mugithi na Ndumo at Red Room from 2PM,” she texted. “Come with me?”

Mugithi is a Kikuyu genre—think of it as country music that drank a full bottle of Muratina and decided to wear a hat. Ndumo is the dance—the erratic, shoulder-driven, hip-twisting rhythmic warfare. It’s like watching a fight that no one wants to break up. I don’t speak Kikuyu. I know only “mbesha shigana?” which loosely translates to “how much money are we wasting here?” But I said yes. Because love is also showing up where you don’t belong and hoping the rhythm saves you.

Google Maps says Red Room is in Kilimani. Technically true. It’s on Adlife Plaza. But if you follow those blue dots on Google blindly, you’ll find yourself in West Pokot or emotionally lost. Take my advice: get to Yaya Centre, take that left turn. Adlife Plaza is a few blocks in, across from Shujah Mall. Red Room lives on the first floor.

The place is cool. Genuinely cool. It’s shaped like an L, as if someone folded the club and forgot to unfold it. The counter sits at the center like a bartender god. There’s a stage—clean, slightly elevated, and a DJ booth carved with intention, not just dumped there. The seats in the regular area are metallic, but not the koroga kind. These ones have cushions that hold your secrets. They are comfortable. The VIP area, of course, has better seats—those white kinyozi-waiting-area chairs, only here they’ve been baptized and saved.

The roof is translucent, high enough not to threaten your dignity, and there’s space to dance without knocking a stranger’s elbow. The floor is plastic turf. That fake grass that doesn’t pretend to be real anymore. The kind you’d find in a cool rooftop bar, or a child’s playground where no one gets hurt when they fall—except emotionally.

Our waiter is polite. Genuine. The kind that makes you want to tip even when you’re broke. We order goat meat and chips not fries. I refuse to gentrify potatoes. Spiky, glowing like the first sip of good wine, is in wide-legged purple pants stitched by a fundi who understands women. Her top—a crocheted piece of African fabric art—is from the same fundi. She looks like Nairobi confidence dressed in culture. I’m in wide-legged pants too (no judgment), a free shirt I got from Dura Poa and my trusted white Converse. I order a litre of Muratina because, well, when in Rome… get tipsy on their traditions.

Spiky orders two bottles of Kenya Originals.

The food comes and we eat because what else do you do when food comes? Their meat is soft. Tender like it was raised by a grandmother with a kind voice. The chips are golden and crunchy—honest chips, not those oily, sad ones that taste like heartbreak.

Then comes Gasheni. She wasn’t on the lineup, just a curtain raiser. But sometimes curtain raisers leave you wondering why the main act even bothered. She did well. She cleared the path like John the Baptist. And when DJ Dibull came on, he walked through like the Messiah of sound. He played magic. I danced. I didn’t understand a single lyric but my body understood the beat, and sometimes, that’s all that matters.

Tony Young came in next. One hour and thirty minutes of pure Kikuyu Vaibu. By the time Waithaka Wa Jane got on stage, I think the crowd was tired. Or maybe he was just too mellow for 11PM energy.

Ah, I almost forgot—DJ 44. That man spins like he’s in love with every beat. Like each song owes him rent.

At our table, a couple and a lady joined us. Later, a guy. All of them were vibes. They figured out pretty quickly that I wasn’t Kikuyu—maybe it was the way I danced, like someone dodging potholes. But they embraced me. One of them told me, “If you can’t beat us, join us.”

So I did.

And I’ve invited them to the Luo Festival on the 9th of August. There, I’ll beat them. And they’ll join me. And we’ll call it unity.

Mugithi was greatness. Pure, fermented, cultural greatness. The kind that reminds you that sometimes all it takes is a beat for you to remember how good it feels to just live.

Thank you for this Spiky. I loved it Baby!

@okelododdychitchats

AND YET, WE VOTE

WHO PROTECTS THE PEOPLE FROM THE POLICE ?

You may write us off,
dismiss us ,
ignore us in Parliament halls padded with stolen wealth,
but still, we see

We are the country beneath your motorcades,
the hands that build and break,
the voices cracking in the dust
because hope costs too much now.

And yet,
we vote.

We vote for thieves in clean suits

We vote for wolves draped in our flags,

Enough.

We are tired.
Tired of job descriptions reading “Must be connected.”
Tired of degrees gathering dust
while our dreams starve in silence.

We are tired of joblessness turned into weaponry,
young men hired cheap to kill our own voices,
paid to break bones they’ve never healed in their own lives.

Tired of watching peaceful protesters
shot dead,
while those who loot in daylight
are guarded like royalty.

Tired of asking:
“Who protects the people from the police?”

Tired of staged outrage,
press conferences filled with air,
and politicians who only remember their roots
when it’s time to lie again.

You fight for positions, not for people.
You dine with the devil,
then kneel in churches too small for your sins.

You debate your egos on live TV
as our people dig trenches
not for roads,
but for graves.

You die to be seen.
But we die because we’re ignored.

Kenya is choking.
On debt.
On lies.
On the stink of promises unkept.

We are not asking.
We are telling.

This time, we vote with memory.
With pain.
With names.
With tears that learned how to speak.

This time,
you will not scare us with teargas.
You will not buy us with t-shirts.
You will not distract us with empty tribal drums.

We will remember who was silent when we bled.
We will remember who smiled while we starved.
We will remember who disappeared our brothers
and called us TREASONOUS CRIMINALS.

We are not the children you once fooled.
We have grown teeth.
We have grown rage.
And we are coming.

So let the ballot tremble.
Let your seats shake.
Let the ground beneath your stolen homes shift.

Because next time,
we are not just voting.

We are reclaiming.

And if you still don’t listen,
then hear this:

We are not afraid.
We are not asleep.
We are not yours.
Not anymore.

@Okelododdychitchats

#RUTOMUSTGO #ENDPOLICEBRUTALITY #RAGEANDCOURAGE
#JUSTICEFORELIJOSHUA

It must Be a Beautiful Death

It Must Be a Beautiful Death

Let it come like a sigh,
like the silence between waves,
like the slow separation of a ribbon,
loosened by the hands of time.
No violence. No suddenness.
Just the peaceful folding of the day into night,
a quiet hand-over to the pull of the tide.

Let it not be an end,
but an opening,
a door swinging wide to something big and golden,
a breath released, not stolen.
Let it feel like stepping into warm water,
like sinking into silk,
like the weight of the world slipping from tired shoulders.

Something will rise from the silence.
It always does.
A blade of green through frost-bitten earth,
a flame that flickers but never dies,
a heart that stops only to be remembered
in the sound of another’s breath.
Life does not go. It stays.
It clings to the air, to the hands that once held it,
to the laughter built into the walls of an old house.

It must be a beautiful death,
the kind that smiles instead of weeps,
that glows instead of dims,
that steps lightly into the unknown,
leaving warmth where it once stood.
Not a Disapearance, but a soft dissolve,
like sugar in tea,
like smoke curling into the sky.

Something sweet will remain.
A voice Singing in the quiet of morning,
a scent-faint yet familiar-caught on the wind.
The way their name still tastes on your tongue.
Love is stubborn.
It does not bow to time.
It finds itself into the cracks of your bones,
into the spaces between dreams.

And something great will rise from the silence
A light in the dark,
a constellation drawn from the ashes,
a name that refuses to be forgotten.
No one is ever truly gone
if their love still stains the walls of the world.

It must be a beautiful death,
not because it does not pain,
but because it matters,
because it leaves fingerprints on the soul,
because it whispers through the wind,

I was here. I loved. I lived.
And somewhere, somehow, I still do.

@okelododdychitchats

Behind Closed Doors, Break Free

Violence doesn’t always leave bruises you can see.
It hides in words that cut, in silence that smothers,
A shadow waiting, patient, behind closed doors,
Quietly chipping away at who you are,
Until you feel small, afraid, unseen.
But knowing the signs, that’s where it begins.

Do they tear you down with a smile on their face,
Chip away at your confidence with every word?
Do their actions make you shrink in fear,
Walking on eggshells, afraid to breathe?
Their cruelty doesn’t need fists to leave scars,
It traps you behind those same closed doors.

You try to convince yourself it’s not so bad,
Smile, laugh, say “I’m fine,” to anyone who asks.
But when the silence settles and no one’s there,
The words come back, loud and sharp,
Reminding you of their power,
Reminding you of your place-small, broken, alone.

And then you start to question yourself.
Maybe it’s you. Maybe you’re the problem.
But you’re not.
It’s their control, their manipulation,
Their need to keep you afraid,
Hidden, quiet, behind those closed doors.

But you can break free.
You can speak. You can stand.
Your voice is stronger than their silence.
Your courage is bigger than their control.
One step, then another, through the open door,
Toward freedom, toward yourself.

It’s time to name their words for what they are.
Time to break the silence,
To reclaim the you they tried to erase.
Because the scars they leave may not be visible,
But you are still here,
And you are still whole.

@okelododdychitchats