Shehu Sani’s recipe for peaceful co-existence

To say the security situation in Nigeria has reached an alarming rate is to understate the obvious. For, unlike the recent past when only some parts of the country were identified with incessant crises, everywhere across the country today is either in crisis or sitting on a time bomb that might soon explode. In fact, sensitive crisis-prone issues are being toyed with on daily basis by both government and individuals without regard to the fact that lives and property are being lost to preventable and senseless violence. While the causes of the widespread bloodshed could be traced to many factors, the major root-causes are, ironically, religion, politics and ethnicity, which are supposed to be unifying factors. Specific examples are the recent post-election violence that engulfed most parts of the Northern part of the country, the Boko Haram saga, which has claimed many lives and the Plateau State ethno-religious crisis which has refused to go away. Only recently there were cases of bomb blasts and attacks on some villages, claiming innocent lives, including women and children.

 This is no doubt a cause for concern. It is no wonder, therefore, that well-meaning Nigerians have expressed their concern. Some have even gone a step further to produce books that would sensitise the public on the need for peaceful co-existence irrespective of ethnic, political or religious differences. One of such concerned Nigerians is Comrade Shehu Sani, the renowned human rights activist and writer. In the past few years the president of the Civil Rights Congress of Nigeria has produced close to twenty books dealing with this contentious subject-matter. He has written and published works on this theme in all the genres of literature; poetry, prose, drama and essay. The latest addition to his relentless fight against violent crisis in Nigeria is a children’s book titled The Children of Jos.

The work, which is aimed at educating children on the issues of peace and is distributed free to children in Jos, is not the usual run of children’s book where acquisition of language skill is the main focus. As the author himself pointed out in the introductory part of the book, the motivation for writing the book is to inculcate in the children the ethics of peace building and good neighbourliness, serving as their brothers’ keepers and vanguards of peace.

To this effect, the 120-page book is roughly divided into seven sections. The preliminary pages comprise Introduction, Motivation, What is Peace? Why Do We Need Peace? Who Can Promote Peace? When there is No Peace? Who are Those That Hate Peace? The topics span from page i to vii. They are treated briefly (each occupying just a page) in essay form and in simple language that could be easily comprehended by children of school age. The introductory pages are obviously meant to serve two purposes – to serve as a teacher’s guide and to introduce the child to the aims and objectives of the reading exercise.

The main body of the book consists of quotations on peace from famous personalities like Thomas Jefferson, coloured illustrations on effects of violent crisis on adults and children and quotations from scriptures; the Bible, the Qur’an and Hadith. While each of the quotes by famous figures and the nearly full-page illustration (with caption) occupy every left-side page, each quotation from scripture, which actually form the main body of the work, takes the right-side (equally coloured) page. This segment covers page 1 to 94.

From 95 to 118, the book features photographs of historical personalities like Mahatma Ghandi on the left-side page and their statements on the left-side page. Then the remaining two pages (119 to 120) feature the letter of Prophet Muhammad, S.A.W, to King Negus of Ethiopia and quotation from Qur’an chapter 29 verse 46, where Allah says to the people of the book, Christians and Jews, that “Our God and your God is one and it is to Him we bow in Islam”.

Among the outstanding quotes from the scripture are:

Let the peace of

Christ rule

in your heart

(Colossian 3;15).

Faith is a

restraint against
all violence,

Let no mu’min

commit violence

(Hadith)

These are on page 6 and 8, respectively.

Outstanding quotes from historic figures include “A person is a person because he recognises others as persons” by Desmond Tutu, page 114; “We seek peace, knowing that peace is the climate of freedom” by Wight D. Eisenhower, page 63; and “You can’t shake hands with clenched fist” by Indira Gandhi, page 53.

The strength of this book lies not just in its content, which fulfils all the requirement of children’s literature, but its topical nature. This, like the author’s other books, has come at the right time when all hands should be on deck to reverse the dangerous trend that is threatening to wipe out the entire nation. The target of the book is also quite timely because children, as they say, are the leaders of tomorrow. Catching them young will, therefore, go a long way in ensuring a peaceful future. The book is a must-read, especially as a supplementary study material on for pupils and students. Even adults can gain from the rich harvest of this masterpiece.

Reviewed by Sumaila Umaisha.

Agabi’s gripping tale out f school

Sumaila Umaisha’s review of Chinyere Agabi’s The Survivor, published by FirstBorn Sevices Partner (2011); pages - 200.

Dr. Chinyere Agabi’a new book, The Survivor, is a children’s story based on a teenager’s struggle for admission and subsequent strive the school. In order words, it is an interesting story on the challenges faced by the teenager, Blessing, in the course of her seeking for admission, her eventual success in gaining admission and the further challenges she had to contend with in the process of her studies. With Blessing’s success at the end of the story, the author makes a powerful statement on the fact that hard work pays and nothing good comes easy.
As a children’s story, the 200- page book is full of moral lessons. But the lessons are not just for children but adults as well, as it is also critical of some societal vices perpetrated in the adult world with dire consequences on both grown-ups and children.
The novel is divided into sixteen chapters, with the first chapters dealing with Blessing’s quest for admission, the middle chapters focusing on her life in the campus and the last chapters highlighting the culmination of her efforts in resounding academic success at the end of her studies.
The moral and philosophical statements come subtly in a simple narration that holds the reader from the very first page to the last. The lessons range from the consequences of ‘unserious’ behaviours which we often neglect but which have far-reaching effects on our lives to some obviously bad behaviours. Examples of these could be seen in virtually all the pages of the book. For instance, on page 3, Blessing is advised against biting her fingernails. “It is not healthy to bite your nails all the time. If you continue at this rate you’ll soon have no fingers to bite from,” the man had whispered into my ear. It was at this point I realized that I had been nibbling at my nails.
On page 24 is another moral lesson where Blessing entrusted her fate in the hands of God as Musa tries to rape her: “Oh God, is this the path you want me to follow? Is this why you delayed my university admission, so that I become desperate enough for men like Mr. Musa to take advantage of me, using the UME admission letter to entrap me?” As I went into communion with God in my heart, Mr. Musa’s voice became distant. “God this is your test and not mine. Whatever happens today between Mr. Musa and me, I accept as having your divine approval.” The fact that Musa eventually decided against carrying out his evil plan shows the strength of her faith and underlines the potency of good moral upbringing.
The author’s principles of life are also reflected in many instatnces in the book. One can see how dishonesty could boomerang when least expected. A typical case is that of Rosaline who changed the score in her English from F9 to F8 in order to gain admission. She actually got the admission, but just as she is concluding her studies, the forged result is discovered and she is summarily dismissed. And she laments: “I will go and tell my parents the truth. What makes it so painful is that I have worked very hard at my studies these past four years. And I have made very good grades without cheating at any exam. Now, in spite of all that, I’m going home empty-handed, without a degree…” (page 101).
Though a children’s story, The Survivor is also a kind of protest against the ills of the society, especially the failures of our leaders. The author talks about the ‘clumsiness of our postal servants’ on page 13, and how Blessing nearly lost her virginity to Musa, an officer at the exam office in exchange for an admission letter. The decay is everywhere including the academic environment where academics are expected to live above board. A typical case is that of lack of electricity and water on the campus due to the neglect and corruption on the part of the school authority.
“Wake-up Delta girls! We are tired of reading with candle lights! We are tired of carrying buckets on our heads in search of water! We are tired of bathing with water from stagnant pools. We cannot write any exams under this condition. The University Authority must do something about this or else…” (page 61). This is the battle cry of one of the students as they go on rampage. And in response to the protest, the problem is resolved without further delay! This is a true reflection of the Nigerian situation where government would, for instance, not do the right thing unless workers go on strike or threaten to strike. This style, which is generally referred to as ‘fire-brigade approach’ is the bane of our nation, and as implied in this moving, topical story, the situation will continue unabated as long as the leadership remains insensitive to the plight of the masses.
The problem of cultism in the campus as portrayed in Chapter Eight is also a sad comment on the prevailing situation in the country. Ebere is so intimidated by an unknown member of a campus cult that she had to drop out of school. Everyone was afraid of accusing anyone, because it was in the era of campus cultism, an era of anyhow behaviour, and no one was sure of who was who, or who could do what. It was an era in which everyone was afraid of anyone who talked anyhow or behaved anyhow. Ebere did not report any of these threats to anyone or the University officials, probably because she was not sure of who was who or who did what. She rather chose to drop out of school… (page 96 – 97).
The spiritual undercurrent in the story has greatly heightened the philosophical perspective of the narration. There are so many instances where God is mentioned in relation to man’s destiny. When, for instance, Blessing escaped from being raped by Musa, she said, …I came to the understanding that God had really intervened in my favour. (page 27). In another incident where she narrowly escaped a lecturer’s threat to fail her if she didn’t succumb to his amorous moves, she again attributed it to God’s favour: I went through the list carefully and saw that all the courses were correctly entered, including Dr. Asha’s courses, I made the sign of the cross and exclaimed: “God, I thank you!” (page 136).
What makes the author’s statements convincing and appealing is the fact that they are expertly crafted in compelling literary devices like imagery, allusion, irony, humour and appropriate characterization. The behaviour of Blessing, the main character, is so human that one cannot but believe in the reality of her situation. She is portrayed as a well brought up girl, God-fearing and determined to succeed. In spite of her strength of character, however, she nearly fell prey to the machinations of a lecturer, Tony, who promised to marry her. This goes to show how human she is, thus, enhacing the credibility of the story.
Glaring samples of the use of literary techniques include the allusion to the ‘pound of flesh’ (pages 5-6) in Shakespeare’s Merchant of Venice, and imagery of ‘deflated balloon’ page (8). All these helped to reinforce her appealing style of telling serious tales in a humorous manner.
Being a children’s story writer, the author uses simple and comprehensible language laced with both familiar and new words that would add to the readers’ vocabulary. She also used pidgin English to give the story some local colour.
Indeed, The Survivor would have been perfect but for some few typos like vane efforts instead of ‘vain efforts’ (page 9), and ‘executing is threats’ instead of ‘executing his threats’ (page 137). There are also cases of missing punctuation marks especially on page 25: “Let’s go” he said… instead of ‘“Let’s go,” he said…’, “Here we are” he said… instead of ‘“Here we are,” he said…’
On the whole, The Survivor is a worthy addition to Dr. Chinyere Agabi’s numerous children’s story books. A holder of Bachelor’s degree in English Education, a Master’s degree and a PhD in Economics of Education from the University of Port Harcourt, the author has brought her wealth of knowledge and experience to bear on this work. Even though the story is meant for students, the general readers will gain from this rich literary harvest.
   

Reviewed by Sumaila Umaisha.

Nigerian Literature is fascinating and dynamic - Jare Ajayi

Jare Ajayi, a veteran journalist and writer is one of those aspiring to become the General Secretary of the Association of Nigerian Authors (ANA) at the elections coming up during the association’s Convention in November. The convention, which coincides with the 30th anniversary of the body’s establishment, will hold in Abuja, the Federal Capital Territory. In this chat, Jare Ajayi spoke with Sumaila Umaisha on challenges and triumphs of literature in this clime as well as his vision for ANA if he is elected as its Secretary General.

Tell us briefly about yourself.

Jare Ajayi: I was born at Igbeti, Oyo State, Nigeria at the threshold of Nigerian independence. I am a journalist.

I started my journalism career with an Ibadan based weekly newspaper, Sunday Glory. I later moved to the Daily Times. While in Times, I was basically with the Sunday Times but was writing for virtually all Daily Times titles then in print. Among them were Times International, Evening Times, Daily Times, Lagos Weekend and of course the Business Times. I was a correspondent for the London based West Africa magazine too.

In 1990, I became the Arts, Reviews and Culture Editor of Tribune titles. In 1992, I revived the paper’s Labour Page that had been rested since 1986 as a result of a labour crisis in the publishing house. In 1993, I started a Tourism Page for the paper. It is my joy today that the two new pages – Labour and Tourism – still feature prominently in the Tribune along with the Reviews & Culture Page that I started with.
I left Tribune in 1995 to run a private business. The business consists of arts promotion, management consultancy, publishing and training. I did not leave writing and journalism as I write for Inter Press Services (IPS), an online international media network. I reported for the Network from such places as Canada, USA among others. Presently, I run a bilingual newspaper – and maintain a weekly column with the Compass newspaper.
Concerning writing and ANA; I had the privilege of starting the very first state chapter of the association in this country - that is the Oyo State Chapter – with the cooperation of many in the State and encouragement from Mr Odia Ofeimun who was then the national scribe. I started it as the Co-ordinator and later served as its Secretary.
I have also served as an ex-officio member and as Assistant General Secretary of the body at the national level. As Assistant to the then General Secretary, Mr Nnimmo Bassey, I held the forte when he was forced to go underground during the Abacha era.
When I was running the affairs of the Oyo State Chapter, we started annual programme during which literary prizes were given not only for works in English language but also for works in our local language. This was in the early 1990s - ever before the national body initiated action on honouring writers in indigenous languages. We also took Literature awareness campaigns to schools through our Outreach Programme.
It is a matter of joy to note that the said chapter (Oyo) that we started served as an inspiration for more Chapters to come on board. We recall also that Oyo State Chapter assisted in mid-wifing Ogun and Osun States Chapters - the latter after the creation of Osun State.
My first novel, Bile In The Dish was the first runner-up in the ANA Prose Competition of 1990 while I have also won literary prizes both at home and abroad in addition to being published locally and internationally. For instance, I am a holder of the International Poet of Merit Award conferred on me at Hilton Hotel, Washington DC, (USA) in 1994, among others.
As a literary journalist, I have, in my own modest way, used the opportunity I have in many media outfits to showcase Nigerian Literature and authors locally and internationally
My first collection of poems, Arise & Other Poems came out in 1988 while my novel, Bile In The Dish mentioned earlier came out in 1990. In 1994, I was bestowed with the International Poet of Merit Award in Washington D.C. United States of America (USA) – there are other awards. To the glory of God, I have authored many other books since then. The biographical work I did on the first African novelist to be published in English language, Amos Tutuola, remains the most authoritative work on the man till today.
What is your assessment of the Nigerian literary scene?The literary scene in Nigeria is a very interesting, very vibrant one. It is an environment that one has a longing and pride to be part of. Longing because of its fascinating dynamism and its capacity to titillate and challenge. Pride, because of the image it has cast for itself locally and internationally. When African literature is mentioned, Nigeria literature looms large within it. One is proud to be part of the tapestry called Nigerian literature, its organistic semblance and its undoubtedly rich future.
What would you say are the main problems bedeviling literature, writers and literary associations in Nigeria?
There is the need for definition in answering this question. The question seems to encapsulate problems bedeviling literature in Nigeria, problems bedeviling writers and problems bedeviling literary associations in Nigeria. Do I get you right?
Right.Ok. I’ll take them one by one. Although the problems bedeviling one may dovetail into the other, they are not necessarily the same.
Literature in Nigeria; The major problems or challenges that literature in Nigeria faces is that of exposition. I mentioned earlier that one is proud to be associated with Nigerian literature because of its universal acknowledgement. It is however a fact that its present image and popularity can be enhanced much further. Indeed, should be enhanced much further. For instance, how many of Nigerian literary works are translated into many world languages? Outside of Achebe, Soyinka, Tutuola, Ekwensi, Okri, Abubakar Imam, Osundare and a few others, not many Nigerian writers are available in other languages . Translations into world languages happen mostly to works that are known.
Nigerian Writers; The challenges faced by Nigerian writers begin with limited avenue for the publication of their works. The number of publishers are not enough to cope with the number of works being churned out by writers. Some otherwise promising outfits in publishing have gone under for a variety of reasons while many still thrive mainly by relying on recommended texts, getting printing contracts from such organizations like NERDC, NCCE, JAMB, NECO, etc as well as by publishing high profile biographies which would be launched with funfare. Few, if any, are publishing companies that are thriving mainly on selling books they publish – especially creative books.
The question to ask is why is this so? Could it be that publishing, by its very nature, is not a business that can stand on its own? The answer, definitely, is No. publishing can be a very thriving business as is the case in many other climes outside Nigeria and as used to be the case in the early days of publishing even here in Nigeria. By that, I mean in 1960s through 1980s.
The problem came with the introduction of the Structural Adjustment Programme (SAP) with its attendant devaluation of the naira and other components of the programme as introduced by Ibrahim Babangida administration. Disposable incomes of an average Nigerian dwindled while costs of production rose. Few people were (and still are) able to buy books because publishers are forced to sell books at relatively high prices due to high cost of production.
Publishing companies that traditionally accept manuscripts - and publish after assessment - resort to publishing such works only if the writer can finance the publication. This, in part, led to the birth of self publishing as well as, in a way, drop in quality, especially in terms of production.
The root cause of this particular problem is the fact that Nigeria still has to rely on importing materials for its publishing industry decades after independence. This means high cost which in turn will naturally lead to high cover prices.
Besides the above, the neglect of the education sector by the government which in turn led to a serious fall in literary skill of many Nigerians, including writers, meant that the quality of what is written is adversely affected. Thus, to have works by many Nigerian writers come out in good standard; editors today have to do more works than their colleagues who worked around the 1980s and before.
So here, the writing capacity of Nigerian writers need to be greatly improved upon.
Literary Associations; Concerning problems confronting literary associations in Nigeria. An organization, as you know, consists of people who form that organization. Literary bodies are formed or are supposed to be formed by literary people/writers. Writers in Nigeria today are not fulfilled in terms of the attitude of the government and the society to their trade. This lack of fulfillment often reflects in their attitude.
It is carried into organizations meant to advance their cause. Meanwhile, an organization needs money for its operations. Writers’ organizations that are supposed to advance writers’ cause cannot be adequately funded by writers who themselves are lacking in monetary terms. So the organization cannot satisfactorily perform its expected duties due to lack of resources. This often induces irritability and restlessness, if not frustration, in writers – against their organization. In many other climes, writers’ organizations are assisted in kind and in cash by governments and others. Here, such a thing is rare. That is one big problem for literary organization in Nigeria, including ANA.
In addition to the above, writers by their nature are independent minded who are given to trading words. So, they often see a lot of lapses in their organization. Thus, they hardly spare even their own organization from criticisms. The same way they don’t spare the larger society. Often, issues are expanded upon in the media and discussions because of the passion attached to them by writers/discussants. Such often gave the impression of ‘serious crises in a writers’ association even when it is just a matter that can be administratively sorted out.
It is also important to mention that the critical nature of writers, coupled with the inclement environment in which they operate often make them to be very touchy on matters that concern their association. But this is not to say that those who run such organsaistion are all the time blameless.
I can summarize what I’ve been saying this way: Literary organizations have problems – like many other human organizations. These problems are exacerbated by lack of resources with which to operate. In spite of this lack of resources, members don’t spare their organizations. The way out is to strengthen the organization structurally and financially while members should show more understanding.
Are you contesting for the post of the Secretary of ANA so as to tackle these problems?
Yes, I’m motivated to present myself for the position of General Secretary with a view to tackling these challenges.
How do you intend ot tackle the problems?First, as the saying goes, proper diagnosis of a problem or disease is a good indicator of how the problem can be solved. As stated in my Plan of Action (or Manifesto), my mission if elected as General Secretary is to find a way of meeting these challenges and ensuring that mechanisms are in place to be able to appropriately respond to emerging ones. This will be done by well coordinated series of actions. It is important to state beforehand that manifesto is only a précis of what is to be done as it would be too unwieldy if details of what to be done and the general modality for doing them are included. But it does give an insight into the direction we are to face.
Having said that, my manifesto can be summed up as follows:
1. Ensuring that a functional secretariat is opened for ANA in Abuja with a proper liaison office in Lagos.
2. Computerization of the Association’s activities. By being more ICT-compliant, ANA members and their works would be more widely known and patronized.
3. Making the association more visible both in concrete terms and in the national discourse.
4. Availability of libraries is important for books. ANA, under my General Secretaryship, will work with governments at national, state and local government levels to establish libraries. Governments will be persuaded to bulk purchase every title published in their areas and stock them in these libraries.
5. Closer relationship will be fostered between the National Executive and States’ Chapters through a regular meeting that will involve the NEC and States’ Chairmen and their Secretaries.
6. The Federal Government and its appropriate agencies would be engaged with a view to ensuring that materials for book production are available at affordable prices. Besides soliciting for the liberalization of material availability, we will also encourage the production of some of these materials locally. (Indeed, it would be a matter of re-activating the production as we used to have some of these things produced in this country before).
7. It is observed that acrimonies often characterize discourses on or about ANA. A perusal of the situation suggests that this often happens due to lack of necessary information. We shall ensure that information about the association is more widely available and at the earliest possible time. (This is without prejudice to the fact that some seem to derive fun in ‘kicking’ the association even when they possess information). In like manner, dispute resolution mechanism will be put in place with a view to having misunderstandings cleared as quickly as possible.
8. Efforts will be made to streamline and increase literary prizes in the country.
9. ANA has to literally go cap in hand whenever a programme is to be held due to lack of fund. If elected, efforts would be made to ensure that the association has credit balances in its accounts and be able to pursue its programmes with relative ease.
10. Young authors will be given more encouragement and more outlets to bring their work to the public will be explored and created.
11. Workshops for budding and established authors will be organized regularly. Content of these workshops will include the latest in the world of writing and publishing.
12. The Writers’ Village in Abuja will become a reality while a prototype – on a smaller scale – will be encouraged at states’ level.
13. Efforts would be made to ensure that the much vaunted National Endowment for Literature (aside the $200,000 Endowment announced last year for the Arts generally) come into fruition and that writers can really access and benefit from the fund.
14. If elected as General Secretary, our executive council will foster greater and mutually beneficial relationship with relevant organizations locally and internationally – for grants, fellowships, endowments, exchanges, sales outlets etc. In this wise, opportunities will be created to have funds for writers to take time off from their normal schedule to go and write and at the same time create more rooms for their works to be available to the public.
15. Many older writers – especially of the first and second generations – do not take active part in ANA programmes. Under my General Secretaryship, they will be encouraged to identify more with ANA and participate in its programmes.
Do you think that ANA members will give you a chance, considering others who are equally gunning for the position?I believe ANA members will vote for me for a number of reasons; chief of which is competence. As stated interalia, I stared the very first ANA Chapter anywhere in Nigeria. That is the Oyo State Chapter of the Association. For a lont time, it was a model. The 1990 ANA Convention continues to be a reference point till today. Members of our branch whom we nurture have won several prizes locally and nationally – even internationally.

Also, those who know me will testify to my penchant for building bridges. With a sense of humility, I like to say that I have friends in virtually all parts of the country. Many of these as a result of the little I was able to do to advance their writing through my journalistic literary activities. I’m sure you’ll agree that experience is something that can be of tremendous benefit to ANA.

How prepared are you towards winning the election?

I am very much prepared. We are reaching out to members in different parts of the country. We will have the opportunity of meeting physically and as a group during the convention. Feedbacks we are getting from our members are that ANA needs the kind of experience, vision and temperament God endows me with. So, I’m emboldened by the assurances of support being given by ANA members. By the grace of God I will be the next General Secretary of ANA as majority of members will vote for me.

I’m launching my books to mark a milestone in my life — Denja

Malam Denja Abdullahi, Deputy Director, Performing Arts, National Council for Arts and Culture, Abuja, and former General Secretary of Association of Nigerian Authors, ANA, speaks to Sumaila Umaisha on the launching of his two poetry works.

Tell us about yourself.
Denja Abdullahi: I was born around the confluence of the Niger and the Benue in the late 60s. I am basically a poet, literary essayist and culture technocrat. I have been writing poetry for over 25 years since my days as a student of English and literature at the University of Jos, Nigeria .I also hold a Masters degree in Literature-in –English from the University of Ilorin and I am presently researching for a third degree in the same field. I have taught English and Literature for five years at Waziri Umaru Federal Polytechnic, Birnin-Kebbi, where I left as a Senior Lecturer in 1998 for my present appointment at the National Council for Arts and Culture Abuja, where I am now a Deputy Director, Performing Arts.
My poems and other literary pieces have appeared in several anthologies, newspapers, journals and magazines. My first published poetic volume Mairogo: A Buffoon’s Poetic Journey Around Northern Nigeria (2001) received honourable mention for the prestigious ANA/CADBURY 2001 Poetry Prize. I have two other published poetry volumes, The Talking Drum and Abuja Nunyi, both published in 2008 and which were popularly received by the reading public as examples of poetry with purpose and mass appeal.
I have a passion for arts administration and have held several Executive Council positions in the Association of Nigerian Authors (ANA). I was the National General Secretary from 2005-2009.Iam also a playwright and theatre director.
How would you describe the Nigerian literary scene?
The Nigerian literary scene is as vibrant and diverse as Nigeria which means you can find all sorts of writings coming out of Nigeria done by people across all ages. You do not find such in any other place in Africa and maybe even in the world. I can say that Nigerian literature has seen it all and we should expect more vibrancy from Nigerian writers at home and abroad.
You recently published two poetry books, The Talking Drum and A Thousand Years of Thirst; what are they all about? The Talking Drum is a collection of poems written to fit the pedagogical imperative of indoctrinating, if I am allowed to put it that way, features of our cultural heritage into our children and youths. I wrote the book to fill a void I noticed in the kind of upbringing and education we give our children. I work in the culture sector and like all other persons, I noticed that we do not consciously impart our history, culture or heritage into our children, neither did our parents did so with us. I decided to do something about it by writing a book that will beautifully introduce our culture to our children by focusing on the spectacular and thoughtful aspects of our culture and presented in living colours to the children.
The second book A Thousand years of Thirst should actually have been my first published work because it contains most of the poems I wrote as a very young poet, as an undergraduate and as a young graduate coming to grasp with life. The collection was ready to go to press since 1999 as I actually submitted it to a publisher then who confirmed it worthy of publication. The manuscript later met with a lot of accidents and constraints; I lost it about two times and it suffered other forms of delay. I later had the chance to review it after salvaging many of the lost poems from scraps here and there and from memory, added many new pieces and there you have it today under a new title. The work itself signposts my journey through life as a poet and if you read it you will be able to decipher my poetic footprints and ingrained concern as a poet in terms of content and style.
Why writing on such themes at this point in time?
Poetry is eternal and boundless. The themes of both work in question will remain relevant as long as you have a country called Nigeria or beings called human.
How are they faring, in terms of criticism and sales?
The Talking Drum was actually released in 2008,it sold well among school children and teachers but it suffered from being overshadowed by another work of mine, Abuja Nunyi (This is Abuja) which I released about the same time. Abuja Nunyi took all the available critical and media space leaving TheTalking Drum sulking in a corner like a forgotten beard. Iam therefore bringing the book back to reckoning by formally presenting it to the public. With regards to A Thousand Years of Thirst, it is brand new, not yet in circulation but a few of the poems contained in it have appeared in some other previously published anthologies. The collection as whole, with many new poems of mine that have been published before, with all the poems intricately linked with a common motif, is sure to delight the readers and I hope the critics too, who should by now be familiar with Denja Abdullahi’s poetry.
You are planning to launch them; tell us about it.
The launching is billed to take place on the 15th of September,2011 at the Raw Materials Research and Development Council, Maitama, Abuja, to commence at 10:30am.It is going to a tight event with lots of entertainment, performances and renditions, all packaged with the eyes of a poet and informed by my experiences over the years on literary events organization.
Why do you deem it necessary to launch them?
My other two earlier works were not formally launched and they did quite well with readers and critics alike and they have endured since then. I am launching this set of works to further promote my writings and to mark a milestone in my life. My wish was to have launched these works at my 40th birthday which was celebrated about two years ago but it was not to be. So let’s say what should have taken place then is about to take place soon. I particularly do not see launching as a mere platform of raising money for the author but if money is raised, the author could do a lot with that and in fact people should really rally round any author who has a worthwhile book to launch. I have in the past helped many authors to launch their works, practically organizing such occasions as a consultant and helping them to navigate and bridge the gap between the expectation and reality of a launching.
What are your expectations from the launch?
I expect my numerous friends, admirers, colleagues at work and in the writing family and all those who my works have touched in the past and now to come share the joy of the day with me. I expect a successful launch in the real sense of it.
Are we expecting more poetry works from you soon or you will try your hands on other genres?
I said in an interview published in another newspaper which was published online that with this my latest poetry collection, A Thousand Years of Thirst, I would have paid my debt to poetry. Niyi Osundare, a prolific and very iconic poet of the alternative tradition, who I wrote my first degree thesis on way back at the University of Jos and who has been a literary mentor of sort, read the interview and wrote me a private email where he said to me, “How dare you!” Niyi Osundare with those words was saying I can never finish paying the debt I owe poetry and that poetry will always find a way of holding me hostage. I agree, I cannot run away from being a poet but before the next poetry collection, I am planning to write my next work, a play, on a pre-colonial historical figure with a lot of drama to his life and whose eventual fate resonates on issues that affect our citizenry today. The research work for the play is long completed and I will be delighted if it comes out as my next work. I have already a few unpublished plays that have been performed here and there which I will subsequently fine tune for further performances and possible publication. I may try my hands on short stories and possibly a full length novel in the future. The possibility of going back to my roots, poetry, so to say, is very likely; but know that I am always one who likes writing a different kind of poetry. There are too many poets around or many masquerading as poets that for a poet to stand out today as a true poet, you must set yourself apart in terms of craft and great subject matter.

(c) Interviewed by Sumaila Umaisha.