The War of Words: On Gay Rights, and the Rest of Us


After the responses a post on my Facebook wall on gay rights in Nigeria had generated recently, I decided to publish it on my blog. This is not uninformed by the ongoing debate on this issue, with reactions and counter-reactions. Reprinted below is what represents my personal opinion about the gay issue. For my fans and followers who had love to see this in verse, I guess you will have to wait a little longer!


All these war of words between the pro-gay and the anti-gay! The pro-gay advocates that gay right is human rights, and in a democratic society, it must be protected and recognised. On their part, they have a point to the extent that to criminalise gay practise and marriage is to deny gays the right to private and family life. Be it a sexual or marital relationship between men; or one between women. They have also said that gay practice is a private matter which the state should not be concerned with, thus criminalising it is wrong. And the US is a ready example as to how modern Nigeria should be like.

On the other hand, we have those who are against it. On their part, they rest their argument mainly on morality. Gay practice is against nature and even God’s commandments, they say. Embracing it is a rebellion against God. It is a sin. It is unholy and unclean. It is indecent and immoral. God turned against Sodom and Gomorrah for this same reason, they say. And many more equally believe it is un-African. Against our culture. Although homosexualism may have been practised by some African cultures, those against it believe that it would be a sweeping generalisation to conclude that this is common with all cultures in Africa.

While the pro-gay think the other side is just being uncivil and hypocritic, the anti-gay say the pro-gay is a victim of western influence who is to be sympathised with.

My problem is this, there is so much display of intolerance on both sides of the divide. It’s just too intolerant of us all degenerating into something less ourselves. Let’s demonstrate some appreciable level of tolerance and understanding.

In every democratic society, there is no state religion. Although, the people in the state, mostly, have one religion or the other. But the state is not to adopt any. The consequence of this is that no matter how good or moral or holy a religious tenet is, the state cannot adopt it as being generally applicable to all.

In the workings of the state, morality is relative. It is not universally accepted. What is morally wrong in a particular place may not be morally wrong in another. The law enforces morality, but not all aspects of morality. There is no law, for instance, against disrespecting one’s parents, yet it is immoral in many cultures. As the state grows, it however begins to accommodate certain things which hitherto were seen as unacceptable, but not without certain restrictions to at least balance private rights with public morality. There is nothing wrong with some states in the US legalising gay marriage, if the democratic culture and times favour it. The state, ideally, should have no God, otherwise it risks adopting a religion. The state is seen as a creation of law, not of God, and the law a creation of consensus, not itself. That’s the stage these countries have reached. To have more freedom, they must necessarily kill the idea of God-religion. Human freedom dictates at all times. But the question is: as Nigerians, have we gotten to that stage where we can kill our God-religion, our various cultural moralities, our Christian, Islamic and traditional beliefs, and embrace the full evolution of human rights in both our private and public life?

It needs no answer. If we were ready, there wouldn’t have been a louder noise against it in the country. And there is nothing morally wrong or right about the GEJ administration signing into law a bill against gay marriage and gay rights. It is a matter of the relativity of morality. And in Nigeria, not the US, the democratic culture is yet to mature to the same level as that which operates in the west. Also, the time is not ripe, just as the time was not ripe in the US some years ago.

Morality is relative, just as opinions are divergent. The Nigerian jurisdiction is simply not ready to embrace it. Yet. It doesn’t mean Nigerians are uncivil, undemocratic, hypocritic or ‘uneducated’. It is just a matter of time and place.


10 Poetry Writing Tips For Young and New Poets

Poetry Writing Tips

Poetry writing is a craft – an art or skill acquired with much time and effort. To help you get started, I will discuss very briefly some writing tips that can help you get that poem out of your mind unto the pages of your blank paper. As a practicing poet who enjoys writing poetry, and also having a deep interest in poetry as an academic study, my relative experience garnered over the years as a young writer may help you with any avoidable difficulties you might experience in creating poems

For the young and new poet who wants to develop and improve his craft, you will find these tips very handy. Of course, it is important to note that not all these tips will apply to any single individual. They are only general guidelines or ideas, not a list of must-do rules, Experience has shown me that rules can terribly hinder creativity and kill originality. Just use the ones that work for you, either as a student working on a poetry writing assignment, or a poet who hopes to become published in a book!

Tip 1: A Poem with Only 5 Great Lines should be 5 Lines Long

Every single word you use in your poem should be for a good reason. It must not just be there to satisfy the poetic urge in you, but to contribute indispensably to the overall meaning of the work. To write successful poems, you must be as economical and concise as possible, and a good way of avoiding the unhelpful waste of words in your poem is to….

Tip 2: try using everyday language

When you write, don’t try to sound like a poet by using every big word you can find in the dictionary! In poetry, we use everyday language, but in an extraordinary manner through seeing things in new ways. Remember, simplicity helps you communicate more effectively with your readers, but verbosity and obscurantism simply throw your readers into confusion. I have found, over the years, learnt that a great way you can avoid this amateurish sound-like-a-poet syndrome is that…

Tip 3: whenever you want to write poetry, never allow yourself to be too conscious about it

When you sit down to write, write at a time and place conducive for your creative mind. Write whatever comes to your mind since this is your first draft written at the “moment of creation”. This is why it is important that you free your mind as much as you can rather than trying to be too rational at this point. Of course, because your first draft is never going to be your final work, except you don’t want to be a writer, your imagination is fired up to a very high level. But to come up with the masterpiece you so much desire, this is where you get to the crucial stage of…

Tip 4: re-writing, re-writing and re-writing

You have just got the worst poem you have ever written in your life out on paper! Good, just what you need to write a masterpiece! Do not restrain yourself, else you will hinder your creativity and cut the wings of your imagination. A poem is rarely completed or perfected the first time. Even after publishing, some writers still feel one or two poems could have been better. In your first draft, you most probably have clichés here and there, with lots of pretentious diction. This is a good material that needs re-writing. Re-writing your poem over and over again is what the craft of poetry writing is really made of. So take another look at your poem and start editing. It is advised that once you have completed the initial draft of your poem, leave the piece for a few days or even over a week, after which you then come back to it with a fresh and unattached look. It is a great way of editing in the re-write stage!
If it must take 50 terrible poems before you can put together one great poem, the earlier you get started, the better for you, your work, and your readers. Often times, I have had to write a single poem having over 30 preceding generations spanning weeks or months! But to avoid a time wasting and energy sapping situation where you end up feeding a stillborn child (your poem) in the name of re-writing, you must always be prepared to…

Tip 5: free the work like a bird and let it go!

If it is worth anything, it will certainly fly back to you; but if it doesn’t return, just say ‘good riddance to bad rubbish!’ and start writing again. I cannot keep a count of a number of my first drafts that have completely found their way into the rubbish bin because I could not squeeze any creative juice out of it in the re-writing stage. So don’t be afraid to write a terrible poem – I am sure your greatest mentors, probably Leopold Senghor, Gabriel Okara, Wole Soyinka, J.P. Clark, Kofi Anyidoho, Niyi Osundare, mention them – have all written bad poems before painstakingly coming up with their great poetry! Letting bad poems go and starting an entirely new poem should not be too painful a thing to bear if you…

Tip 6: enjoy the writing experience!

Often, I have come across some writers who feel writing is a job that must be done within a specific time! Try seeing writing as a gift, hobby or passion, not as an exhaustive project with deadlines. Don’t get me wrong. As a writer, I take my writing very seriously and dedicate lots of time and energy to make it work, but not without setting a limit for myself so that I don’t hinder the smooth flow of creativity in me. If you get bored with your work while writing, it is most certain that your readers will be too bored with the piece you have created in boredom!
To help you enjoy the writing experience, I will give you an idea of what may be hindering the enjoyment and pleasure that poetry writing should provide: I have noticed that most poets who try to express themselves in a “language of the common man” so as to make their poetry accessible to a wider audience do not largely enjoy writing, compared to the writer who write first and foremost for his/her own creative expression. This is because while the former group would have to focus much more attention on the message in his work, the latter mainly focuses on the language. And in-between these two groups are those poets who are able to use imaginative languages that also communicate the intended meaning or message to the reader. Christopher Okigbo did not become one of the finest poets in Africa – nor did Wole Soyinka win the Nobel Laureate in 1986 – for writing in the “language of the common man”. Many writers who do rarely get the attention of critics whose job it is to essentially place writers’ language within established literary traditions and perhaps explore the themes – still in the context of the language used – rather than helping to pass messages to the people. Those who do so rarely get any attention, and if you ever get any attention, it is very likely to be the kind you won’t enjoy.
If you feel that your message is more important than the language, try using non-fictional means to get it across – articles for instance. After all, it is generally accepted that poetry does not sell! So if you must enjoy writing, use comparisons, inferences, and suggestions, such as similes, metaphors, personifications, symbolisms, allusions, alliterations, onomatopoeia, assonance (I am enjoying this already!) etc. It is when you enjoy the writing experience that you can simply…

Tip 7: write as often as you can

That is what I keep doing as a writer – always scribbling down something on sheets of paper, on my palms or in my phone’s notebook. This is why you should have a notebook at all times to enable you put your ideas down immediately they come to you often when you are not even thinking about it! Ideas go just as fast as they often come, like the beaming wings of fireflies in the dark. But rather than waiting for the next big idea in your closet and end up complaining about “writer’s block”,…

Tip 8: get yourself out in the street!

If you are stuck for ideas, carry a notebook anywhere you go and writer down your observations. Just keep your eyes and ears open so that you are always alert to any sense stimulators around you. Also, work out the time of the day when you are at your most creative moment. For many writers, it is the first thing in a fresh morning, or late at night when everything has gone to sleep with their daily demands. For me, I find that I am neither here nor there – night and day have become merged as far as writing is concerned. But count me out when it is too hot in the day, and too late in the night, except I am just typing my work, which also provide me the opportunity to take a mechanical look at what that Senator has written! But after getting ideas from the street, don’t commit creative suicide by sounding like one who just took a time-travel to the 16th century. So what you must do is…

Tip 9: forget about Shakespeare, carve your own voice!

When you sit down to write a poem, don’t bother your head about trying to sound like Shakespeare or any of the 16th century English poets for rhymes, rhythm and all that! This often chokes your creativity, especially if you are a beginner. What is much more important is to say what you want to say, and the free verse form is a nice way to start. Personally, I am not the poetry-must-rhyme-to-be-good-poetry type. Of the over 200 poems I have written over the years, I don’t think I have written up to five poems that rhyme!
Curiously though, when I started writing in my teenage years, I find that I enjoyed working with rhymes and sometimes even rhythm – and this is also true with many beginners – perhaps sound in poetry has a greater influence on us at a younger age, while content is more of the focus as we grow older. Partly, I think this was what Reeves was talking about when she said that poetry was popular with children because at that stage it was all sweet-sounding nursery rhymes, but as they grow older they begin to ask questions which border on the logic of content, which has now make poetry largely unpopular. Don’t get me wrong, I do not mean that only amateurs write poetry that rhymes, but trying to lay emphasis on how influential the sound of poetry can musically appeal to many. So if you must rhyme, do it nicely and effortlessly, even if lots of time and energy went into it. And whether you rhyme or not, if you ever start yawning tiredly without making any headway, just…

Tip 10: forget about it!

Sometimes, you try so hard to get to work but nothing comes out of it! For forget about writing for a while, and get on to something else. You can always get back to writing again when you are not so hardened up. For me, when a particular work begins to make me feel tired, I have since begun to accept it calmly because to me it is an automatic beep that tells me it is time to revisit another stubborn work that I had left earlier (maybe days ago) to finally reveal itself to me, or at least, get closer to the revelation. But for the student, please do not get your mind off the poem – to help you, you can have a deadline at the termination of which you must have come up with the poem you have been asked to write, most probably as an assignment from the classroom.

This article is an excerpt from a recently completed book, Complete Poetry: for Students and Writers written by the poet and author, Senator Ihenyen.

Senator Ihenyen: the New Nigerian Writer to Watch by James Nnadi

The Abuja literary community had the opportunity on May 28, 2011 to experience the most appealing and imaginative poetry of Senator Ihenyen, a new voice in Nigerian literature. The Lagos-born poet whose first name ordinarily would make him pass for a member of the National Assembly wrote had a wonderful time with the writers, dignitaries and literary enthusiasts who filled the Pen & Pages Bookstore to the brim.
Emerging poet, Senator Iyere Ihenyen had been invited by the Abuja Writers Forum as featured writer at the highly-acclaimed Guest Writer Session.
The final year Law student of the University of Benin, Benin City, held his audience spellbound right from the start till finish! After reading out Senator Ihenyen’s fast-growing profile as a poet, short story writer and literary researcher with commendable recognition, Mr. Ajibade, Secretary of the AWF went ahead to invite the new author to take the hot seat.
Senator Ihenyen, reading from his debut book, Colourless Rainbow, stole the heart of the audience as he delivered each selected poem with fresh energy, profound passion and fiery imagination! Each delivery attracted loud applause from the audience who were thrilled and fascinated, not just with the young author’s mastery of performance, but the beauty, emotions and thoughts which his poetry expressed in the most imaginative manner. From the melifluous flow of words to the evocative imageries, Senator Ihenyen fired the imagination of the audience as they were deeply drawn into the overriding images of blood and rain which coloured the movements, “The Mirror”, “Camouflage” and “Chameleons”. The author whose editor was the highly respected critic and editor, late Okey Okpa (Foot), went ahead to thrill the audience with poems selected from the remaining movements, “Images on the Breaking Walls of My Heart”, “Masquerades”, “Crossroads” and finally, “The Tide”. Interestingly, the collection of poems, “Colourless Rainbow” which was released from the stables of Coast2Coast earlier this year, is written in seven movements, symbolising the seven colours of rainbow in ascending order. According to the author, the work is presented as an indivisible and interrelated whole, not as a collection of individual poems. Curiously, perhaps this explains the recurring images of blood, rainbow and rain which run through the whole work. In one way, this effects an appreciable level of unity in the work, while on the other hand, it also appears to create an overriding atmosphere of violence which the reader would fast become familiar with when reading Senator Ihenyen’s poetry. From the comments made by majority of the members of the Abuja audience, this style was highly commended based on the use of symbolic and imaginative words as a most appealing medium of communication. Indeed, Senator’s poetry won many hearts over to the genre of poetry, as not a few of the audience confessed that they were greatly fascinated with the writing of the new Nigerian author.
However, Elnathan Jo, while also commending Senator Ihenyen’s poetry, advised that the excessive energy and passion be toned down and more emphasis be placed on skill, as obtainable in South African protest poems. Also, Unoma Azuah, who was also in attendance, while comparing the author’s work to those of Sefi Atah and the likes, expressed her admiration for the poetry of the Lagos-born poet but advised that the clitche of blood and cluster of adjectives could have been better treated. Interestingly, however, majority others, including Ibrahim Kabura, aka Little Master Ibrahim, praised Senator Ihenyen’s poetry for what they described as most appealing, flowing from his use of imageries, symbolisms and mellifluous words to express emotions and thoughts in ways that fire their imaginations.
According to the new voice in Nigerian poetry, who served as the distinguished editor of the Catholic Digest, Nigeria Federation of Catholic Students (NFCS UNIBEN) Senator Ihenyen, with smiles betraying the dimple on his left cheek, thanked the audience for their beautiful comments, insightful questions and constructive criticisms. He started by saying that rather than being overtly defensive like a “Maiwada to a Mudoski”, he would leave the critics, if any, to dissect his poetry.
However, the young writer who was born in the 80s and hails from Esan-West LGA, Ekpoma, Edo State, remarked that the state Nigeria is at the moment requires clarity in communication, unrestrained passion and fresh emotions with an urgent message. He continued by pointing out that he could not afford to “beautify ugliness” by reducing protest poetry to sonnets as seen in Dennis Brutus’ poetry, and consequently create an unintended disconnection between his lines and the message. “There is no time to miss the message”, he said. On the employment of imageries, symbols and adjectives, the one-time Campus President of Golden Minds Nigeria, University of Benin, who doubled as the former President of the Catholic Law Students Association, (CLASA UNIBEN Chapter), added that his poetry is essentially driven by the grandeur of Leopold Senghor’s poetry, the sophistication of Wole Soyinka’s poetry, and Niyi Osundare’s lyricism, but with a voice and a message of his own.
The audience must have appreciated the writer’s ability to identify the literary tradition which he belonged and his experimentation with it in a bid to carve out a niche of his own when they applauded his response. Indeed, one of the audience had remarked earlier that Senator Ihenyen’s poetry was a fresh voice – a “transition from Wole Soyinka and the others” based on the contemporary realities expressed in “Colourless Rainbow”. Well, if you ask me, I honestly think that Senator Ihenyen’s poetry deserves serious attention from literary critics and reviewers who appreciate (and they should!) contemporary works.
There couldn’t have been a better way to draw the curtain than have the freshest phenomenon in contemporary Nigerian poetry, Senator Ihenyen, pick out lucky numbers for the free-books raffle draw, and of course, sign autographs, and smile to the camera. With him were Prof. Unoma Azuah, Kabura Zakama, El-Nathan John, and many other writers and literary enthusiasts.
Senator Ihenyen, author of “Colourless Rainbow”, is currently working on a second volume of poetry, “Ripples Across Lives”, centred on HIV/AIDS. With interest in literary research, he has the unpublished title, “Complete Poetry: for African Students and Writers” to his name. His webblog:

James Nnadi

The Fishermen, the Fishes and the Fishing Nets in New Nigerian Poetry

The Fishermen, the Fishes and the Fishing Nets in New Nigerian Poetry by Senator Ihenyen

an Insight

“If a publisher is unwilling to take your manuscript, it is perhaps the script is not good enough. You should not run to the local printer, pay him because you believe in yourself. If you believe in yourself, look for somebody else who also believes in you, and can tell you the truth. That yes, you are a good writer, you have the potentials but these are flaws in your writing.” – Prof. Dan Izevbaye on the eve of announcing the Nigeria Literature Prize, 2009.

For too long, the new generation of Nigerian writers, particularly poets, have been continually criticised for stubbornly producing poor works, which according to our literary critiques, do not deserve any attention. The degenerating generation of new writers are accused of being ‘too much in a hurry’ to get published and consequently compromising publishing standards. In turn, the ‘children of globalisation’ are quick to point accusing fingers at the publishers, particularly the long-established, for robbing Peter (neglecting new creative works by new writers) to pay Paul (publishing established authors and educational titles). Has anyone got anything to say about this degeneration? Of course, everyone in the book industry in Nigeria does!

The publishers claim that if they are to stay in business new writers must be seen as a big risk, while the literary critics seem to be saying that new writers must be rightly starved to death since their largely poor works do not feed their literary hunger for great literature. Usually too glad to see that the go-it-alone new authors are paying the price for sidetracking professional editing services, the editors are always quick to nod their heads in agreement with the critics! Down the book-chain, the booksellers say that because Nigerians have a poor reading culture, literary books don’t even sell anymore! And what has the book reader got to say (if they still read at all based on what the booksellers hare saying)? The book reader says literary books are not available in the bookstores; and when they rarely are, they are not affordable; and when they are rarely affordable, they are not accessible; and when again they are accessible, they are not good literature like it used to be in the Soyinka days! On their part, literary journalists are making headlines to the effect that literary critics who continue their endless romance with Soyinka, Okara, Clark, Osundare and the other lucky few without a look at new writers are to blame. Phew! Or have you got something to say as well?

But in the same vein, literary critics who are from the Soyinka generation are wondering why there is a scarcity of critics from the same generation that has been ‘too much in a hurry’ to produce works. They believe that with the wild and wide sea of new Nigerian writers, waves of fresher and younger literary critics who are better placed to do the job considering ‘age and energy’ should come with it! According to Nnolim, ‘…younger critics are lazy. I called them lazy because when we were younger, we wrote about Achebe, Soyinka; these were the icons of Literature in the 1970s and 1980s…’ The accusing fingers in contemporary Nigerian literature, particularly poetry, are endless! Faced with this situation, the young and upcoming Nigerian writer has become even more confused: running to Lulu and others for self-publishing, or worse still paying a roadside printer, or more honourably taking Nigerian literature abroad! The consequences have been simply dimensional: the good, the bad and the ugly.

There have always been poor works –no doubt – even Soyinka’s generation did not lack it. The critical issue is fishing out good works for publishing. And unfortunately, we presently lack, largely, good fishing nets in the literary industry spread out by good and experienced fishermen to catch good fishes. To extend this metaphor a bit further, those long-established and experienced publishers in Nigeria who are the fishermen with good fishing nets have refused to spread their nets further into the sea of new writers because the new fishes are easily caught in water but not easily sold on land. So they hunt for big ones found deeper ashore – they find the very big Achebe, Soyinka, Okara and other lucky giants. Also, newer and less experienced publishers, with little nets go fishing in the same water, not for the Soyinkas, but for other fishes with some pedigree and great potentials to become bigger with a little fish-feed (they probably caught me). And once in a while, you find some ‘fishermen’ without out nets at all, desperately jump into water to catch the fishes at shore, usually small (probably you this time), while many are not fishes at all, but fish-looking frogs fanning their fins (probably who?)! But in the same sea, many fishes are left behind. And in frustration, they soon become ‘too much in a hurry’ to get out, thinking a literary life anywhere but in unfulfilling water was going to be better – they jump out of water unto land! However, they soon die for want of water – the self-publishing author who keeps travelling around with the unsold copies of his book in a certain travelling bag that is always heavy (yes, he must have arrived at your destination by now with a bent back)! Please, buy his book before he departs, else you might be forced to pay more during his funeral after years of no reward for intellect in a country that ‘does not have a reading culture’.

Not every fish must be big when caught. Achebe was a small fish when the fisherman called Heinemann caught him with their fishing net, African Writers Series. One rarely finds a ready made fish except that fish has since been caught and fed by another fisherman who was nurturing him for the bigger market, but one way or the other found himself in the sea again, bigger but still fresh. So the question is do we still have fishermen who have good fishing nets? Not whether there are fishes or too many of them, or there are fish-feigning frogs in this very wide sea of Nigerian writers. Everyone wants be the big fish, but not everyone has fed well. I am not quite comfortable with a situation where Nigerian writers are stoned whenever another bad work ends up in the book stands. In Law, we usually say nemo judex in causa sua (no one can be a judge in his own course). Writers cannot themselves set literary standards to measure their works for the purpose of validating themselves for recognition. The reason we have what we usually describe as ‘too many writers’ is because there is no standard in the industry to separate the boys from the men, as there will always be boys if there must be men. The young shall grow is the instructive message here, but of course many have died and still dying from the impoverished literary industry, causing us future Achebes, Okigbos, Soyinkas, Ben Okri, Osundares and many others. Perhaps, the way to go for young Nigerian writers is to stick to Prof. Izevdaye’s advice: “If a publisher is unwilling to take your manuscript, it is perhaps the script is not good enough. You should not run to the local printer, pay him because you believe in yourself. If you believe in yourself, look for somebody else who also believes in you, and can tell you the truth. That yes, you are a good writer, you have the potentials but these are flaws in your writing.”

To accuse Nigerian writers for falling below standards does not show that we appreciate the situation on ground. It is tantamount to stoning the victim, rather than apprehending the predatory monster in Nigerian literature. Isn’t it the same Nigerian writers who go ahead to win the Cadbury Poetry and Gabriel Okara Prizes, including the more prestigious Nigeria Literature Prize? Please, don’t remind me that the judges keep complaining about the entries and consequently warning us about that time in the future when the prize will no more be awarded for lack of deserving works, making us understand that even the legendary Gabriel Okara and the late Ezenwa Ohaeto were a compromise, not the ideal NLNG winners! But I sense that some of us possibly lack faith in local prizes after all and would rather allow foreigners choose our canons for us, deciding what will be our national literature, our culture and heritage. Well, isn’t it the same Nigerian writers who get the Nobel Laureate, the Booker Prize, the Orange Prize, the Commonwealth Prize, and other prestigious international prizes, making us greatly ahead of other African counties?

According to Nnolim, and I fully agree with the critic, the fall in standards is the purple patch in Nigerian literature, not the writers. In other words, Nigerian writers churning out bad works by the day is a symptom of the disease that our society has been infected with, not the disease itself as we tend to think. Contrary to the public opinion on this issue, it is my considered view that Nigerian writers, young or old, new or established, fledging or flying, beginner or finisher, should be greatly applauded for keeping literature alive against all odds! But to ask them set standards for their own creative works would be demanding for too much! Nigerian writers cannot set the standard for their own works, because they cannot be a judge in their own course. There are others such as publishers and literary critics who are better placed to judge us. We are only fishes, or probably frogs feigning to be fishes by fanning our fins in water, it is left for the fishermen to caste their fishing nets into the sea of writers, if they have any in the first place. But whether they go for big fishes or not, many fins are already swimming towards the land. It is there struggle to survive out of water that we see as a strange dance in Nigerian literature. And when they eventually die for lack of water on the literary land, usually so, we hurriedly perform the post mortem. And since post mortems are meant to trace the cause of death, and not grounds for life, everything ends there. The fishermen, the fishes and the fishing nets become another cycle of a degenerating generation, not the ‘wasted’.

©Senator Ihenyen 2009

The Younger Generation Of Contemporary Nigerian Poetry – Which Way? by Senator Ihenyen, 2005

An illuminating insight…

“…note with dismay that a high proportion of the entries contain a worrisome abuse of poetic license with a plethora of infelicities. These infelicities include false imagery, absurd and vulgar coinages, outlandish phraseology and awkward versification masquerading as poetry.”Prof. Ayo Banjo, Spokesman, Judges of the Nigeria Prize for Literature, 2005.

Indeed, contemporary Nigerian poetry is generally worrisome – at least to those who appreciate good poetry. We may have been writing lots of poetry, with new volumes getting into the literary market by the day, from new and younger authors alike, and yet be doing more harm than good to the development of contemporary Nigerian poetry. Most times, the younger contemporary poet seems to loose her artistic vision, tossed here and there in the wind of nothingness! Our literary critics keep pointing accusing fingers on the young writers, who are “too much in a hurry to get published”, while the more established poets are not in a hurry to live the headlines and the spotlight for the fledging. And why should they? Is the poetic sky not big enough for everyone?

Perhaps, the young and fledging poet has not taken a strong position in contemporary Nigerian poetry. Or how else could one explain Gabriel Okara’s joint-winning of the Nigeria Prize (for poetry) in the year 2005! Forget about “new Nigeria writing” by a poet of the 60s, it is not what the Ofeimuns, Osundares and Aiyejinas of this part of the world would have prayed for! Even today’s Okekwes, Uzoatos, Ezeanahs, Kankaras, Shehus, Nnamdis and not forgetting Ezenwa Ohaeto (a joint winner), of blessed memory, would have fasted for this. Neither would I!

So, where lies the strong position for the younger and fledging Nigerian poet? Firstly, we must start writing poetry, not verse. Many a volume out there is characterized by verse ‘struggling’ to be poetry. This may not be unconnected with the poor understanding and appreciation of the techniques of poetry writing, especially by the younger poets. Poetic license, which should be a tool for the creative use of words and space, has become a disastrous thing in the hands of our poets! The use of imagery, sound and space in poetry is either clichéd, cacophonous and simply unimaginative, respectively that is. Inversions are often overused to the degree of nausea, one begins to feel one was reading a 10th century poet! Perhaps, we may need to learn from the successful poets of the modernist, post-modernist and contemporary poets. NLNG’s Eleven Best Nigerian Poets for 2005 is also highly recommended, especially for the younger poets. They include, Gabriel Okara’s The Deamer, His Vision, Ezenwa Ohaeto’s The Chants of a Minstrel, Promise Okekwe’s Naked Among the Hills, Maxim Uzoato’s God of Poetry, Chiedu Ezeanah’s Twilight Trilogy, Emman Usman Shehu’s Open Sesame. Others are Amu Nnamdi’s Pilgrims Passage, Victoria Kankara’s Hymns and Hymens, Ismael Omamegbe’s The Colours of Season and Cyclone by Ubu Udeozo. We can become better poets by reading good poetry.

Secondly, before setting out to put a volume together, we should know the poetry tradition in which we have chosen to write. Reading through the various volumes by the same author in contemporary Nigerian poetry, mostly among the younger generation, is quite revealing! She uses different traditions for as many volumes she publishes, sometimes even within the same book! Though, it is quite tempting to want to name the various authors and titles that fall under this adventurous tradition, it will be of better benefit to us if we could show, very quickly, how this characteristic has become a purple-patch in the failings of our current poetry. Poetic traditions may refer to the poet’s style of writing as related to the various movements in poetry. For instance, William Wordsworth’s Romantic age characterized by lyricism in the creative and imaginative use of the free verse, against the traditional patterns of the Edwardian and Elizabethan periods. Or more relatively, late Christopher Okigbo’s gradual metamorphosis form the influences of Ezra Pound and T.S. Eliot’s tradition of poetry writing to the niche of his own voice as evidenced in his ‘Path of Thunder’. Other established poets, such as Wole Soyinka and Gabriel Okara, with their “self-conscious search for techniques from native traditions as a means of extending and authenticating their sensibility,” (Senanu & Vincent, Selection of African Poetry), have also carved their niche in their generation’s poetic tradition.

Reading through contemporary collections these days usually take one far back to the poetic traditions of the pioneer Dennis Osadebay, bring you down to the transitional Gabriel Okara, jack you up to the modernist Soyinka, and like a thunderbolt without lightning, you are thrown back to the contemporary Osundare, and the younger Lasisis. Perhaps, it may be high time we had another phase for the present peculiar poetic tradition- Anything Can Happen Phase, or more modestly, the Hybrid Phase. Could this be the reason why our literary critics don’t fond the current Nigerian poetry very comfortable or inviting, including the readers? What tradition of poetry are you carving your niche from? I think I just might know where I belong. Where do you belong?

Moreover, particularly for the younger generation that has been generally described as the “children of globalisation”, we should begin to explore the opportunities that abound on the World Wide Web. We cannot and must not be seen to be layback, when we have the literary world in our fingers! We should create websites or web pages for writing, and submit poems for possible publications in magazines, journals, reviews and anthologies. We can also have our poetry reviewed on various poetry reviews on-line, join poetry writing groups and participate in poetry contests. But BEWARE! As much as the Internet holds possibilities, we must be careful not to fall victims of the numerous poetry scams on-line! Many a writer, new and old, have fallen and are still falling into these scams. Unknowingly, they flaunt awards by such big scams as the International Library of Poetry, also known as the International Society of Poets (ISP) or simply, U.S.A; and Noble Publishers, U.K. Some Nigerian authors have even gone ahead to ‘strengthen’ their biographies with such things as ‘Nominee, Poet of the Year, by the ISP, U.S.A’; or ‘Outstanding Achievement in Poetry Award, ISP’. Many more will even tell you they have got their poetry recorded to songs in ‘The Sounds of Poetry’ by the same organisation. Sadly still, they do not know these are crests of opportunist amateur poets who are yet to be exposed in the literary world. Although, many of the author’s names are still quite fresh in memory, again, this will do no one any good.

What is important is that we keep our eyes open whenever we want to submit any of our works for publishing opportunities. And those of us who, relatively, have better experience in such things as this, should not fail to alert the other, suggesting other possible ways of going about it. Okike, Glendora Review, Flamingo, Atlanta Review, Crazyhorse, Poetry London, Poetic Voices, Poetry Magazine, London Magazine,Blue Moon, Sable, Wasafiri, Coffee Press House, Gargoyle and Abraxas (contact for more contacts) are few of the many magazines we can get our poetry on. Poetry competitions such as Poetry Business Competition, Peterloo Poets Open Poetry Competition, Arvon Foundation International Poetry Competition, Cardiff International Poetry Competition, National Poetry Competition and Voices Network International Poetry Competition are just few of the many competitions for poets on the web. One can easily find their websites and submission guidelines through search engines on the net. Start clicking those keyboards now!

However, the younger generation of poets should also participate in local poetry prizes. They include the annual ANA/NDDC Gabriel Okara Prize fro Poetry, Cadbury Poetry Prize, Muson Poetry Prize and the rotating NLNG/Nigeria Prize for Literature. It is always advisable to have some degree of local recognition, as this will put us in a better position for greater international recognitions. This is also true with publishing, at least, one’s first volume of poems. We must always try as much as we can to have manuscripts or books to be submitted for these competitions well packaged. We have been whipped twice by the NLNG for our badly edited and packaged books! We can argue till the second coming of Christ the content is what matters, we must not also fail to realise that a terribly packaged book can kill the interest of the reader. I had bought Austyn Njoku’s Scent of Dawn at the just-concluded Nigeria International Book Fair, just for its cover design and texture, leading me to the recurring dawns in his poetry! Eracili’s No Sense of Limit also gave no ‘sense of limit’ to my urge to grab it on the ANA book stand, not because I had read reviews on it, but its quality design was simply inviting- although, my pocket had its ‘sense of limit’! Outside the fair, Lasisi’s ‘Flight of My Night‘ is also simply surreal! Yours? Sorry, I think that will do. I am not going to be that ‘grab-your-copy-now-marketer you find in Nollywood!

It is sincerely hoped that somehow, someway, someday, the issues highlighted here and the very humble suggestions to the younger generation of Nigerian poets on the shadowy state of our current poetry, will be seen as a useful light.