‘Ode to Mother Tongue’ is a showdown of choruses of West African voices. In it, we read poets who appealed to the language of their hearts in the composition of their verses, in order to reach the audiences’ hearts. Indeed, the heart-of-the-matter in the edition’s theme ‘Mother Tongue’ is a matter of the heart.
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One finds a poet who sounds less like his environment or the rest of his remaining works. One finds a horde of clannish poets who have resumed trapping their styles in the net of the other. One finds a literary community that has forgotten to produce the spirit-immersed poetry, the kind that broadly establishes the contaminant emotive will; not the kind that breeds a hive of self-importance—tributes and odes to self—that which undermines the vicarious role of pathos.
These poets have clearly come to terms with the issues and sufferings the coronavirus pandemic wrought upon the world. They help us to come to terms with it as well.
Another unique thing about Emmanuel is that he draws inspiration from what is familiar. As such, Lagos Doesn’t Sleep stands out as a testament to how literature remains the eyes of our current events and a concubine to history.
“Touch” is a word, and in a larger sense of it – it is a language portraying relationship. Various cultures speak this language, it mirrors the relationship between the virus and human interactions. In Nigeria, amidst our diverse cultural beliefs and traditions, every ethnic group understands the underlying power of touch; from pouring libations to the gods, to exchange of greetings and other realities captured in this performance piece by Donna Ogunnaike called “Touch”
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