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.
THE LENIENT POEM AND SUBTLE MEANING (an analysis by Oludipe Oyin Samuel)
A Big Airplane Crashed Into the Earth. I read Soyinka’s first collection of prison poems sometime in 2009. Categorically, I need not ‘push dumbfoundment to beg simplification; I hate a...
THE THING WITH INTERPRETERS (an essay by Oludipe Oyin Samuel)
[caption id="attachment_6568" align="aligncenter" width="453"] #WRRPoetryVerseSurgery[/caption] Many things are allowed in the ‘most contemporary’ Nigerian literature, even psycho-imaginative meningioma; proclaim the very art of purposeful nationalist writing— countryside lyricals, activist poems...