Contents

Editorial:
Pen, Sword and The Society

Interview:
Nnorom Azuonye
My E-conversation with
Esiaba Irobi

Guest Poet:
Rebecca Steltner
About Steltner

Poems:

Rebecca Steltner
Summer Forgetting
Untitled I
Untitled II
Before falling asleep
Chafed
Unoma Azuah
Vows
Song of the Owl
Nights
In Us
Uduma Kalu
To the unheard voice
A mermaid dance
Evelyn
I am still eager
C. Highsmith-Hooks
When freedom come
Through tainted eyes
The Day The Towers Fell
Uche Nduka
Swear
Gleamings
Turn the key
Slow Feet
Emeka Azuine
Reality World
Oppressenergy
Song for Souls


Feature:
Nnamdi Obioha Azuonye
- Profile of the poet
Nnorom Azuonye
The Freedom Clause: Theme and Meaning
in the poems of
Nnamdi Azuonye

Events & Announcements:
StAnza Poetry Festival
Poetry Competitions

Notes:

Notes on Contributors
Glossary

Back Issues:

January 2003
December 2002

Home

MAGAZINE MONTHLY -- FEBRUARY 2003          ISSN 1479-425X

Interview

Dr Esiaba Irobi (left) with Nobel Laureate Prof. Wole Soyinka (centre) at Washington University, St. Louis, USA, 2002

All the while, the younger generation should have alternative ethical and moral and progressive and visionary leadership - nobody should be above 40 years age- to take over and save that country from extinction. As a matter of truth, I don't think that Nigeria as an entity will or can ever survive. It will at some point disintegrate like all good shit in a toilet bowl. That country has never worked. I don't think it will ever work. The British know what they did. Never you underestimate British intelligence. Look at all the trouble spots in Africa and the world. Can you or can you not see the expertise of the British, their political genius? And never you underestimate as well, the imbecility of African leaders. Look at the new monkeys on the stool. The new donkeys of democracy. The magnificent arseholes. The pimps of politics. The twats. We are fucked up Really well-f**ked up. Only the young with some vision can save us now.

What is a visionary?
A visionary is someone who sees what is not there.
What is it that is not always there?
The future!!!!



Nnorom:

Sorry to take you back just a little bit. When you say that your interest now is to tell the story of your people (people of the African Diaspora) and your generation in exile. What can we expect? Can there be a truly African Diasporic literature and what might its defining features be?

Esiaba:

This will need a Ph.D. dissertation. You may have to wait until my book: Theatre of Elephants: African and African Diasporic Performance Theories and Aesthetics is published. It puts everything together from both the perspective of performance as well as orature and literature. I have been teaching this course or arguments central to it in the USA since 1997. I am also publishing a book on the subject very soon . It is titled: BEFORE THEY DANCED IN CHAINS: African Metalanguages in African Diasporic Performance Aesthetics. The lecture "THE BLUES AS AN AFFIDAVIT OF AFRICAN -AMERICAN CULTURE: The African Connection and the Menace of Western Appropriation" which I gave at Washington University, St Louis, this year, alongside my great hero, Wole Soyinka, is taken from the book.

Nnorom:

Let me re-phrase the question. What is the core relationship between literary products of Africa and those of the African Diaspora, and how do these differ from those of other cultures?"


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In a sense,
Africans in the Diaspora, have, perhaps, made greater and more creative use of African orature in the new world,

- Irobi