Lekan Osundina holds a Bachelor of Arts degree in Literature from Obafemi Awolowo University. Currently, he is the CEO of Grafiti Creations, a photography firm. In this brief interview, he shares his ideas, dreams and aspirations on photography. Enjoy:
Nurudeen Lawal is my name. I manage artsnliteraturenews.wordpress.com. ArtsnLiteratureNews reports, publishes/promotes African literature and arts (both written and audio-visual). Continue reading
Omotayo Yusuf is my friend. The one I am proud of. Together we navigated the literary ocean at Obafemi Awolowo University. Omotayo is a storyteller with literary simplicity, the kind akin to that of the great African literary icon; Chinua Achebe. When he writes, the English language flows and slickly draws in his hand as the rainy-season okro would do in the hands of a great cook.
Today, he has many short stories to his credit—some have won him laurels; while some are still in his mail waiting edgily to be unleashed. The one that however caught my attention of recent is his winning entry in ZODML short story contest titled Hero. Continue reading
Title: Clinical Blues
Author: Dami Ajayi
Reviewer: Salawu Olajide
THE POET AND HIS PATIENT: A REVIEW OF DAMI AJAYI’S CLINICAL BLUES
One can begin with notch of the two-word title that Dami Ajayi has chosen for this seminal gang of poems, ‘Clinical Blues’. The poet has prepared poetry as the lab where medical science and music are titrated and adulterated. But then, love and sex are also apparently inside the test tubes. Dami Ajayi has carefully made a remove of himself from mundane discourses of literature viz: politics, history, or culture. The unfailing uniqueness of Dami Ajayi in experimenting with issues of sex, love, alcohol, modernity gives one another new crave of other subsets of discourses that are obtainable within the discourses of poetry. The poet, just like the string of guitar, is constantly pulled to observe humanity from poetic lens applying music, sex, love, betrayal, modernism, internet as they are not infrequent in his poems. One cannot escape the heavy stench of maladies that are monstrously crippling the society though in this bond of classic write. Continue reading
The seriousness with which scholars of African popular non-literary cultures have approached the music of Fela Anikulapo Kuti reaches its high point in Tejumola Olaniyan’s Arrest the Music because this is the first book that locates the meaning of Fela’s life, art, and politics within the larger intellectual milieu whose contours the musician himself helped to shape. The book also stands out for its adamant refusal to accept on face value the many received truisms, many of them self proclaimed, about Fela; his patently radical political statements, for example, are shown to lack ideological coherence or philosophical depth. To the question why is Fela important, Olaniyan responds that the body of work captured the essence of the“postcolonial incredible” (2) in ways no other African popular musician did. Fela became the force he was because he read the Nigerian postindependence situation very accurately and transmitted his observations in musical and verbal idioms most suitable for comprehending them. In all pitches possible and at every performance forum presented to him, Fela never missed the chance to articulate that which in the African postcolony “cannot be believed; that which is too improbable, astonishing, and extraordinary to be believed” (2). All thinking Africans listened to, sang along, and wondered with Fela about the sheer illogicality of how things could have been so wrong. Indeed, without the sustained musical attention, lyrical and percussive, that Fela paid to the senseless incongruities of life in the African postcolony, he would not have made much sense to many people, especially given his relentless willful violations of middle class, Western educated, social norms. Continue reading
Not all stories I have read made me feel this way; very few did: I felt I had the penetrative power which logged me into the authorial privacy of Damilola while reading through his new short story Ireti—featured in the Survival (17th issue) of Saraba Magazine.
Ireti is the story of a young woman (Durosinmi) who suffers the pains of miscarriage allegedly attributed to a generational curse placed upon her family (Orimogunje) by her great grand-father’s adopted wife. All of them—the female children—will suffer this misfortune four times and only those who could dare or survive to try the fifth will have the joy of remaking themselves.
A Review of ‘An Autobiography’, ‘Cut’, and ‘Death is not the end’ by Kelechi Nwaike, Tonye Willie-Pepple, and Adeyinka Elujoba respectively
“An Autobiography” by Nwaike is a poem of 15 stanzas with irregular lines. It is a poetic reflection by an orphaned young man. The poem flows smoothly from the ‘stuffy room’ of the poet persona in the north through the sky resisting the fearful faces of the witches flying ‘by at night’ to the South where he, and his brother, has come in their pursuit to keep riding on with life even after the demise of their parents. Aspiring to survive.