By
Richard Ali
www.richardali.blogspot.com
Not being a cricket, this piece should not be considered a work of cricketism; it is rather a sanarwa, news, a review, and an acclamation of a newly published poet. Once every few years a collection of poems comes along that so definitive it can only be reviewed on its own terms. Dr Yusuf Adamu has provided us with just such a collection with the publication of his 2008 Poems, Landscapes of Realities. This review is meant to offer lovers of verse everywhere a studied opinion of this latest offering from the generally considered literary-arid northern Nigeria.The poet is a football aficionado and geographer, he lectures at the Department of Geography, Bayero University, Kano. This background proves important in considering his poems. His literary grounding is in the Hausa language where he has published three novels; Idan So Cuta Ne {If Love Is a Crime}, Ummul Khairi and Maza Gumabr Dutse. He is also a blogger of note; {http://www.africanpublicpoet.blogspot.com/}, {http://www.tagarduniniya.blogspot.com/}.
Landscapes of Realities is a very slim volume of fifty six pages comprising forty three poems written entirely in free verse. The poet has conveniently divided them into three thematic hubs; “Innocence”, “Places” and “Realities”, comprising five, seven and thirty-one poems respectively. The poems included in Landscapes were written during the years 1997 and 2000 and perhaps their being published in 2008 is an acknowledgement by the writer that the content and context of his poems have remained relevant over the last decade.The arresting individual characteristic of each poem in Landscapes is leanness – an almost anorexic control of diction such that each poem renders a chosen reality starkly, without the confusion of ambiguous words or an obscurantist style. The collection, taken as a whole, betrays an acute social conscience that is prescient but not overly sentimental in its comment, exhortation and, more often, denunciation.
The bareness of geography, where a hill is a hill and a plain is a plain, have been transposed successfully into the poems of Dr. Yusuf Adamu, where Nigerian realities – the motorcyclist, eclipsed dreams, the corruptions of power and time – are rendered in severe relief.The five poems comprising “Innocence” – “The Child”, “Truth”, “Childhood Dreams”, “Almajiri” and “Happiness” adequately reflect the bare template of each Nigerian, before experience ups and happens to them. The innocence of childhood and truth, the beauty of a child’s dreams are captured in their fragile ephemeralty. This nostalgia is punctured by the poem “Almajiri”, about the agonizingly human fodder, child-scholar-beggars, that have become an embarrassing fixture in the cities of Northern Nigeria. The blight of Innocence, occurring in “Childhood Dreams” –. . .they wake up growinginto a world full of malicefalsehooddiminishing glory and shame. . .guilt replaces innocenceancient dreamsbarely materialized-is given a context in the lines from “Almajiri” below –he is very young an frailthe economy is biting hardthe Mallam cannot sustain him. . .he must hunt for himself.The second part of the collection, “Places”, comprising seven poems, are poetic descriptions of Kano City, Jos City, the Plateau, Kura falls, Wembley Stadium and the town of Sussex. They are simple poems. However, a poignant question is sneaked in which forms the prelude to the next part of Dr. Adamu’s poems, the poet asks –Where shall we beIf there is no geography?“Realities”, comprising thirty-one poems, provides a rich mine for critical exploration. The poet-persona in these poems is above the fray of the realities being described yet we can feel the organic, umbilical relationship between the two. “Realities” probes maternal mortality and poverty, germane issues in the North, with the poems “Child Birth” and “Malnourished Child”. “Fuel Scarcity” and “Motor Cyclist” critique the nature of government insensitivity vis a vis the devious and oftentimes, dangerous, “survival” activities of the Nigerian citizen. Beggary, another social problem in Northern Nigeria is given the treatment of clinical satire in “Professional Beggars”; “Career Beggars” on the other hand denounces the beggars for their ignorance, however, it doesn’t stop there, the poem ends –their minds are enslavedby false beliefs and ignorancechained by lazinesstheir minds may never be freeuntil the society decides to set them free.
On the late General Mamman Vatsa, he says –His sprit shall forever beNourishment for his memory never ceasesAs the living drink from his linesIn the same spirit of the Ecclesiasticus, of paying respect to “great men and their fathers who begat them”, he honors the “Ancient Revolutionary”, Akhenaten {1338-1358 BC} and a “Brave Captian”, Sultan Attahiru of Sokoto who defeated by the British, was subsequently killed at Burmi, on his way to join forces with El-Kanemi or Rabih in the Sudan –Maxim gun he hasn’t gotCan he remain on the throne?. . .our glory has fallen and broken.Perhaps in correcting the conservative and reactionary stereotype of Northern Nigeria, Dr Adamu has in a series of poems affirmed that the radical, revolutionary streak has been in the north long before the south knew of cause and anti-cause, I speak of men like Muhammad Rumfa, Shehu dan Fodio, Sa’ad Zungur, Aminu kano, Hamza Abubakar. In the poems “Strike”, “Rebellion”, “Smash Them” and “Speak Out”, he idolizes revolt in the face of malevolent power. Says he –But if they are unjustIf they oppress youDay and nightIf they mismanage your fundsIf they deny your rightsThen rebelFight in the openAnd in the closeDo not fear their mightFor God is not on their side.However, even judging this collection by its standard, there are shortcomings. On the ground of “leanness”, there are poems laden with prosaic fat so much so that the poetry of the poem is lost. Examples of this are the poems “Problem” and “Kindness” which read too much like penny motivational tracts. Secondly, the poet’s style involves the breaking of sentence syntax and while this stylistic preference has in the main worked superbly, it has not so worked all though. An example of the jarring and unaesthetic effect of this is the line “His colleagues he betrayed” from “Driver’s View”, “For, truth they represent” from “Kayan Sarki” and the first stanza of the poem “Frankenstein”.Another critical charge, this time of complacency may be laid against the poet.
Instances abound where the non-printing of a single letter, “s” or “’s”, have discontextualised poems and hurt the flow of their line. One inevitably pauses at such a point. An example is the first stanza of the otherwise correct “The Sun”. On another limb, “The Poet Died” is rendered unwieldy for its sheer and abrupt vacillation between past and present, sample –The power of the gun/He knew quite well/Yet it is the power/Of the written word/He believes in/I have no doubt that General Vatsa for whom this poem is in memoriam “believed”; but he cannot “believe” {L4 excerpt above} because that would imply living contemporaneity and Vatsa, we know, has been dead for decades.These shortcomings can easily be overcome during the expected reprint of this Poems. They do not much hurt the beauty of the collection or derogate the sincerity of the poet behind the lines. Among the emerging voices in Nigerian poetry, Dr. Yusuf Adamu’s Landscapes of Realities would definitely find a niche for itself
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