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“Cuffed by the Curfew”
By Sunny Iyke U. Okeigwe
That time of the day was young,
When the chilling hands of boredom
Seized and cuffed my wriggling wrist;
I was like one in the hands of eke already,
Finding real respite in frozen freedom
I lied low like one laid in a bier for the undertaker,
For the powers that be was ready to bury my mouth,
Because of the bitter truth bored by the youths from me
Without the slightest inkling that I’m free as air,
Whenever I took to the streets, I reach everywhere!
They cannot shut me down even though
My wrist is cuffed by the craftly imposed curfew;
My voice has gone round the world already;
This curfew is but their deadend if insisted on,
In stead of complying with my lawful demands!
They cannot change my fulfilling fate
Even though they hired hoodlums to hijack me;
Like smoke, I have smelt my way to heaven;
The Maker has already received the transmitted truth,
Giving them no choice but to comply or face
The damning consequences of adamancy of deceived Rehoboam
By the old men of this era devoid of deplomacy of democracy
Lacking knowledge of the times and timing of good governance
And of the will of the people to the portal of power through me,
The peaceful EndSARS protest, even though cuffed by the curfew!
(c) Sunny Iyke U. Okeigwe
24th October, 2020
“ABORT NO LIFE”
by Sunny Iyke U. Okeigwe
There, the cruel guns sucked their precious lives;
The babarious guns butchered like tasty meat,
The lives of the future of the nation.
It was a premeditated hunger hunt for blood and flesh;
The young lives did no matter to the mindless guns;
Lekki is forced to lick ousing blood of her children,
Because justice went astray on a joyride!
There the guns lost their gumption;
They went beserk in mindless spitting of deadly fire,
Because the young asked seeming nagging questions,
For the whereabouts of jumbled Justice!
There, the nation lost her mettle and unleashed her nettle;
The lives of the future indeed mattered
To the carnage from the canisters of cruel guns;
EndSARS, you have given birth to consciousness of a new normal,
A baby that must not be washed away with bath water!
Sunny Iyke U. Okeigwe
(c) 22nd October, 2020
WADING THROUGH THE WAVES by Sunny Iyke U. Okeigwe
The evening sun was already disappearing cheerfully from the horizon when Nnamdi heard piercing cries for help and sighted a wobbling boat in a distance of about half a mile from the shore. The winds were howling and fluttering from opposite directions. The waves of the river coming from the sea were extremely violent and virulent. To worsen the situation, it was raining heavily. The gusts of ruffling winds which were bellowing the pattering and sizzling rain was capable of blinding anyone momentarily with its splash on the face, yet it was not enough deterrent to Nnamdi. He must wade into the warm river which was then becoming a little cold from the mixture of waters coming from rivulets and the open sea.
‘Help us! Somebody please help us! We are sinking, help!’
These were what awakened Nnamdi from where he was in great reverie, resting under a mass of undergrowth of sisal leaves and plants that formed a shade at one corner of the thickly dense forest. The voices of cries from the river were so sharp, unmistakably urgent and despondent.
‘Oh! I must help. I must help. I don’t mind if I lose my life in the end. But, I won’t lose my life’, Nnamdi muttered to himself, gasping hungrily and deeply for breath.
Quickly, he dived into the boisterous waves, swimming with all zest and zoom towards the directions of the cries for help. Nnamdi has thrice in his bid to save drowning people, dared and defied the angry waves of this aggressive river that annually gives her guests water more than their bellies can drink and ultimately sending them to the land of quietness with full, bulging bellies.
Nnamdi swarm stylishly like a dolphin, skipping and surfing the surging waves that intermittently blasted towards him. His life was at stake, yet he launched forward. What did he think he could achieve under this predicament? Saving lives at all costs is a sacrifice any hero dare not overlook. Nnamdi was at it again. His masterful strokes, deep scuba diving skills and speed were his aids.
Every attempt by the winding waves to wash him towards another direction was carefully and speedily avoided. Soon, he was getting nearer the capsized boat, which would have been easier to reach, were it not that the boat was being repeatedly tossed from one direction to another.
The boat was a locally produced new boat with an old motor engine propeller. There were about eight passengers aboard the boat including the bowman when it capsized. Two out of them were little kids; the rest were full grown adults.
Luckily, the rains stopped and the waves abated a little. The bowman had succeeded in pushing two of his passengers ashore with the help of the waves which washed them there. Three of the passengers who could swim very well, made it to the shore, riding at the back of the waves, but were lying in a lifeless state. The bowman was too tired and weak to do any other thing. He had exhausted his strength on the two passengers he guided ashore. He left the kids strapped with the only two life buoy tied to the floating capsized boat because he felt they would be safe there until he returned for them, and also because two weak passengers needed support if they would survive drowning any minute.
Nnamdi quickly made for the two kids who were buoyed by the floating boat where the bowman tied them to, almost dead. He turned the boat up with the help of the winds and craftily untied the kids and lifted them up into the boat. Where the strength he used to turn the boat up which one person alone is incapable of turning came from, he couldn’t explain.
By the time the waves returned after abating, it only succeeded in pushing the boat towards the shore. Nnamdi too was inside the water pushing the boat towards the right direction until the boat ran aground. Completely exhausted, he managed to bring the kids to land and administered life saving support that resuscitated them.
©Sunny Iyke U. Okeigwe
28th August, 2018
CREATIVE CORNER by Sunny Iyke Uzoukwu Okeigwe
Creativity is a god-given gift or ability to man. It is true that the act of creating beautiful things or creativity can be learned in school; however, it is obvious that man has been endowed with this art from creation. All man needs to do is simply tap on his innate pontentials to be creative.
Different individuals have distinctive creative abilities inborn or learned; what make different individuals unique in their own special ways are their abilities to discover their individualities and explore them to the optimal levels.
I believe strongly that literature and art make man to fully explore and enjoy his world; permit me to use the words “literature and art” separately. It is deliberate because literature is a form of art. When I speak of art here as separate from literature, I am making reference to visual art, sculpture and performing art.
On this note, the world of literature and art is a beautiful place to be in. You will find out that your life becomes more beautiful when you bask in the blooms and beauty which creative corner offers. Welcome to creative corner.
“Beware Soul brother” by Chinua Achebe
We are the men of soul,
men of song, we measure out
our joys and agonies
in paces of the dance.
Beware, soul brother, beware
for others there will be
lying in wait, leaden-footed, tone-deaf,
passionate to despoil and devour.
Take care then mother’s son, take care
lest you become a dancer stranded in mid-air,
hanging a lame foot in air like the hen
in a strange unfamiliar compound.
Protect your fatherland to which
you must return the song when is finished
and the dancers disperse;
Remember also your children,
for they in their will want a
place for their feet when they come of age
and the dance of the future is born for them.
IS CHINUA ACHEBE A NOTEABLE POET? by Sunny Iyke Uzoukwu Okeigwe
Chinua Achebe, a man, a writer I greatly respect and appreciate his literary works and critical approaches to literature, perhaps was not notable as a poet. In the world of poetry, Achebe was never an amateur or a novice. To me, he was indeed a poet of note simply because a poet does not need to be notable in poetry before he is acclaimed a poet.
In the literary world, different writers usually have one or more of the three genres of literature to which they are highly notable or well-known. Some writers may be versatile in all the genres, however, with profound specialties in one or more genres. In the case of Achebe, he was more inclined towards the prose genre and consequently he was well-known for that.
Concerning inclination to writing poetry, Achebe had this to say: “I can write poetry, something short, intense, more in keeping with my mood…” This underscores the fact he was well acquainted with the writing of the poetry genre; however, he was not that notable as a poet, so to say. His mood largely played a very important part in dictating the pace with which he wrote poetry. I quite agree with Achebe in the part mood plays in writing of poetry; however, for me, inspiration is more appropriate.
In this brief essay, attempts shall be made to establish how socially relevant one of the poems written by Chinua Achebe, in consideration is, especially as it relates to Africa’s, nay Nigeria’s present state. The poem, “Beware Soul Brother” is indeed Achebe’s mirror of the present in relation to the future. In this poem therefore, these three words: “soul”, “song” and “dance” are used symbolically and metaphorically; they inarguably represent all activities geared towards making the society better, be it socially, economically, politically, or educationally.
Obviously, a proper consideration of these three words above by x-raying the mind and the mood of the poet speaker, apparently gives a clue to the poet’s coded message, beginning from the expressions in these lines below:
We are the men of soul,
men of song, we measure out
our joys and agonies
in paces of the dance.
The ‘soul’ mentioned above obviously symbolizes or represents the ties, bond or unity that brings different persons from various backgrounds, ethnicities, tribes or races together. In life, different people are brought together to co-exist, co-operate, co-educate, and so on. The ‘soul’ is a common factor that has the capacity to bring together into mutual agreement diversity of people, to pursue a common good or goal. Without the soul, there will be no emotion or any such feeling as love. Hence, the soul is a uniting factor in all human interactions and integrations. Without the soul, everything will be lifeless or soulless; lacking excitement, lacking trust, mutual understanding, inter-dependence and egalitarianism. Thus, by using the expression, “We are the men of soul” metaphorically, the persona carefully exemplifies the essence of ties, bond or unity in all human relations. Consequently, if we do not have one ‘soul’, ultimately there won’t be one ‘song, we cannot ‘dance’ together in unity.
- On the other hand, the word “song” as used by the poet speaker above symbolizes the activities that bring humans together. In life, various activities such as games, education, worship, work, etc., bring people of different backgrounds together, just as singing songs ordinarily brings people together. The persona uses the phrases: “men of soul” and “men of song”, apparently juxtaposing the two expressions. It is therefore clearly evident that when the ‘soul’ of people unites, it is then that the ‘song’ which brings them together or which they came together to sing is sung better. Thus, there will be no song if there is no soul; they must be “men of soul” before they can truly be “men of song”Examining or x-raying the symbolical use of the word “dance” in the poem, I would like to consider the relationship between song and dance. First, there has to be ‘soul’, then ‘song’, followed by ‘dance’. Song and dance are inter-dependent activities. Granted that there could be song without dance, and dance without song, it will be normal if one sings a song without dancing to its tune; but it would be considered insane or abnormal in African society for one to dance without any song on. Normally, songs should precede dance, and not the other way round. The poet says in the run-on-line, from line two to line four: “we measure out our joys and agonies in the paces of the dance”. What picture is being painted here by the persona? Most certainly, songs and dance are recreational activities; they boost the morale; they act as elixir against depression or melancholy.
However, a proper consideration of the uses of the words “song” and “dance” respectively show the correlation between these two activities. The poet says: “We are men of song”, signifying the essence of having a ‘song’ – knowledge of what will make the society better. But, having just the knowledge is not enough; the application of that knowledge is highly essential. Thus, the poet goes on to say “We measure out…in the paces of the dance”. The imagery in the above expression perhaps suggests action, application of something – applied knowledge, which improves situation or makes things better in our society. A literal meaning of the above expression means palliating, cushioning the effects of problems, perhaps suffering through singing and dancing.
Contrasting the above expressions, it is no doubt clearly evident that the poet’s expressions go beyond ordinary singing and dancing to ease oneself of “agonies” or sorrow. The poet says “Beware soul brother”, thus bringing a strong warning to united brothers, bonded brothers, “soul brother” about an imminent danger from traitors, saboteurs, evil personalities (enemies within and without) somewhere with no other intention other than to destroy or make life difficult or miserable for them by unleashing terror. These are “lying in wait”, in ambush; they are “laden footed” – they do not have the feet of good dancers or do not know how to dance; they are “tone-deaf” – they do not have a song and cannot hear or understand the song playing on. Their sole interest is to “destroy” and “despoil”.
In the events that unfold, the persona continues his warnings in the preceding lines. The poet says: “Take care then mother’s son”. The warning is encapsulated in admonition. By using the singular nouns “brother” and “son” respectively, it perhaps sounds like the poet’s addressee is a blood brother, perhaps his immediate kit and kin. The question is who is this brother in the real sense of the word? Is the persona referring to some people of his homeland or country men? By the use of the word: “mother”, the poet perhaps personifies or refers to his country. Which country does the poet have in mind? It is apparent that the poet has another country in mind. If his people or his countrymen are not the reference point of “mother’s son”, the admonition to “protect your fatherland” would not have come in. There is an unmistakable allusion to atili-ogwu dance in the expression: “a dancer stranded in mid-air, hanging a lame foot in air”. Atili-ogwu dance is an acrobatic dance native to South-eastern states of Nigeria: Enugu and Anambra precisely. Also, there is an allusion to proverbial Igbo saying in the simile: “like a hen in a strange unfamiliar compound”. As a precautionary measure, an atili-ogwu dancer dances gracefully and somersaults carefully in order to avoid breaking his or her legs. Same thing goes to an observable, characteristic and proverbial Igbo hen that studies and surveys its new environment with one leg raised up so that it would become familiar with its environment and other hens, cocks and chicks within it. In other words, the ‘soul brother is advised in the interest of his life and that of his future generations to be cautious of his environment so that he would not be taken off guard, unawares.
Similarly, the warnings in the preceding lines re-establish the fact that the persona apparently is not referring to one singular person. In other words, when the poet says: “you must return the song when is finished” and “Remember also your children”, (which are other imperative admonitions) show that the poet undoubtedly has a group of people at the back of his mind. Thus, if the “fatherland” is not protected, the “song” and the dance will be meaningless. If the “song” and “dance of the future are not preserved (or restructured), what will be the repercussions? The “song” and the “dance” metaphorically are the politics and government, which is for both the born and unborn generations. And as matter of fact, it must be handled carefully and handed over unadulterated, when the “the dancers disperse”, that is, the older generation are gone. Otherwise, the future generations, their “children” will have no “Place for their feet” because the “song” and the “dance” have become dismal, discordant, uncertain and unpleasant ( full of nepotism, corruption, sectarianism, tribalism, name them ) Consequently, one could imagine the unpleasant consequences of failed government, failed education, failed social welfare and amenities, failed infrastructure development, failed health care, failed law and order, failed security, failed packages for workers and pensioners and so on and so forth in the society or a nation, if adequate precautions are not taken to stop or prevent these problems of disunity and civil unrest which the poet envisaged in the polity. The poet says “the dance of the future is born for them”, that is their “children”. It will be a great disservice and disappointment to our children, the future generations, if they come of age or grow up to meet and be enmeshed with this age-old politics that lacks “soul” – unity which their forebears failed to resolve once and for all. The poet’s message , no doubt shows how socially relevant the poem is today, even tomorrow as long the issues addressed are no given heed to and resolved amicably. Thus, the poem is concluded with a note of finality and an imperative tone that require immediate expedition of actions that will bring a lasting solution to soulless, discordant song and dismal dance that have lingered in Nigeria since independence.
In conclusion, the language of Achebe is simple, fluid and captivating; his tone and mood smack of alarm, a looming danger. His subtle use of figures of speech especially metaphor and imageries no doubt make the poem highly aesthetic and stylistically appealing. Chinua Achebe is no doubt a noteable poet who sees the future with poetic lenses that no doubt call readers to urgent remedial actions that will better the lot of people in our society. This poem no doubt is a wake-up call to issues bothering on unity and harmony among people. It addresses the past, the present and future unity of people in Nigeria. In other words, the poet argues and warns that the sooner we realize how damaging, questionable, deceptive and destructive our hackneyed, embattled and camouflaged unity is the better.
Refference:
Achebe, Chinua, BEWARE SOUL BROTHER, Heinenman Publishers, London, 1972.
“Little Purple Flower” – Aufied Zophy
I am a little purple flower
My petals so extremely small
I ‘ve stood in the grass for many an hour
Enjoying a breeze most of all
But, oh, what happened to my peers!
Just yesterday, it moved me to tears
While the children of John were playing their
game
My peers were trampled to death, what a
shame
When just before that, some bigger flowers
were damaged
The children were scolded badly by John
But when my brothers were ravaged
It was noticed, sadly, by none
Today, however, I had a reason to smile
A nerd, or so he must be
Looked at this little purplish flower, a while
And took a picture of me
Even if tomorrow, to the worst of my fears
I have to die, as yesterday my peers
I will do so happily
since someone has seen the beauty in me.
Aufie Zophy,
8 May,2010, Bachok
– – – – – – – – – – – – – –
COMMENT
Your poem “Little Purple Flower” indeed captured my heart. There’s no doubt that this is a poem about the ravages of nature and flagrant disregard to its beauty by man.
I felt so enthralled by the deep words of affection from the little purple flower for its peers so ravaged by the playful kids. The fact that the beauty of these flowers in spite of their conspicuous positions, were not noticed or regarded, but rather were trampled upon, leave much to be desired by man’s attitude to nature.
Ironically, it was a “nerd”, who eventually discovered the little purple flower at its seeming hidden corner: a nerd for that matter. The little purple flower contrasts its seeming hidden position and of its “peers” with that of “some bigger flowers”, which John in the poem appeared not to have noticed. This shows that it’s only special people who adores nature’s beauty. A nerd in actual sense of the word may look worthless or derogatory, but the attitude of this nerd shows the heart of gold in nerds.
In the end, the little purple flower expresses its delight in being noticed and appreciated by the nerd, after having felt sad at the fate of its brothers. Interestingly, the amazing thing is that good things will always be noticed and appreciated in spite of their obscure positions with time.
– Sunny Iyke U. Okeigwe
creativenicheon 