I was wandering the country
In my cowboy hat and boots
When anybody asked me, said
“I’m searchin’ for my roots –
I been livin’ in Missouri and
I’m a stubborn SOB and I wanta
Know just who I am
Want to find my family.

My Grandpa was a preacher man
From Southern Illinois,
Got a married lady pregnant
And they had a baby boy.
The lady moved away
To hide from all the shame,
And the little boy grew up and
Only knew his Daddy’s name.

Well the little boy, (my Father,
From the story I was told)
Lived rough from the beginning -
He was only twelve years old
When he got in trouble fightin’
(Neighbor called his Mom a *****)
And five or six years later
He tried to rob a store.
They tried him as a juvenile, and
Put him in the ‘System’,
Stamped ‘Marine Corp’ on his folder
Dad did not resist ‘em.

He went to boot camp near Savannah
Where they send ‘em all at first
Did the basics and the training
(The first weeks were the worst)
He went to town one evening
Lookin’ for some place to fight
Bought a bottle of tequila,
Found a girlfriend for the night
Told her he was going overseas,
That she should treat him right,
They were sweaty with Savannah heat
Her apartment was nearby,
They made love until the morning light,
She didn't shed a tear, or cry.

In the morning neither one of them
Recalled the other’s name
They shared a joint for breakfast
No blood, no foul, no shame
They exchanged their names and numbers,
She knew he’d probably never call,
He put her’s in his pocket,
Soldier protocol.
He grabbed a taxi back to base.
She spent the day in bed.
Remembering his hands, his face
She couldn’t push him from her head.

A few weeks later she felt sick, and
Went to see a nurse
She prayed that it was a cold or flu,
But expected something worse,
Her fears confirmed,
She begged her God
For sanity and strength.
Knowing that she couldn’t keep the child
So she knelt and prayed at length;
It became to her apparent,
Adoption was the better way,
But she didn’t call the father
For fear of what he’d say.

I finally found her in Savannah
She had never moved from there
Never married, worked a coffee shop
All we could do was stare.
No apologies were needed,
I hugged her,
We both cried,
And I knew that when she gave me up
Something inside her died.
I asked her how she met my dad,
She said, “He was in a bar, on leave.
He was drunk and he was handsome,
I was younger, and naïve.
He told me I was beautiful
I told him he was too.
And I’ll be ******, but son,
Your father looked alot like you."

She said, "I called and left a message,
But an officer called me back.
“I’m sorry Ma’am,” he said,
But your boyfriend won’t be back.
He was killed with seven others
In a terrorist attack.
But he left a lot of letters,
Rubber-banded in a stack.
To “Maria in Savannah”,
No last name and no address
Just a number on the envelope,
You can pick them up, I guess.”

I gave the officer my address, and
He sent them all to me.
There were a dozen letters
All printed carefully.
Your father, (his given name was Steve)
Told me about his early life
Told me what he knew about his parents,
And about the time he spent in jail.
He had stacked up all the letters
Because there wasn’t any mail.
The last one that he wrote me -
His last day as a Marine
He told me I was pretty,
Best lookin’ gal he’d ever seen.
And he told me he was comin’ home
To straighten out his life
And he asked me, in that letter, if I would be his wife.

Will you be goin’?  Or can you stay awhile?
I’ve got a little extra room
And there’s work here (it don’t pay too much)
If you know how to push a broom.
I guess that I should ask you if I’ve got grandkids,
And other stuff like that,
And I’ll bet that you’re from Texas
With those cowboy boots and hat.
Your father grew up troubled
But he was a **** good man
I’m gonna look him up in Heaven,
At least now that’s my plan.
Thanks for findin’ me and callin’
I shoulda called you years ago,
But I was scared ‘bout what you’d think
And ….  Oh I don’t know.
Sometimes I’m not proud of who I am
And all the things I’ve done
Wouldn’t want to push my troubles
On my one and only son.
It’s kinda hard to ask forgiveness from
The son I gave away,
But now you’re here, and I hope
You’ll take a couple weeks and stay.
That is if you want to,
And I know that you probably don’t
But I want to know the son I lost
And if you don’t stay, then I guess I won’t."

I said, “Mom, I’m from Missouri,
I’m a stubborn SOB
I been wanderin’ round the country
Lookin’ for my family.
And I’m thinkin’
You’re the only one
That really knew my Dad
And about you “givin’ me away?”
It’s the only choice you had.
I will stay here if you let me
I’d like to find a gal like you
We’ll make you a Grandma
And then she can love you too.”
PwL  5/18/15

he's standing by his white pick-up
she sees him swaying there,
something was off, for example, his balance
she engages him, and invites him to our sidewalk
boy staggers to our side of the street
drunkenly, i asked him if he was trippin'
she reprimands me for pointing it out
she insists that we help him
he looks terrified, or feral
we tell him he's ok
he pulls her in, desperately
she holds him, possessively
bile from his belly escapes, stealthily, from his lips
it drips it drips it drips
onto her head
"It's ok it's ok it's ok"
she holds my joint to his mouth to settle his stomach
i don't want her to because i can see the gloss of bile still on his lips
he told us his name was Savannah
it wasn't
he staggered away from us
while he walks away, she finds another circumcised **** to latch on to
after a moment of:
drunkenly watching the flirtatious introduction begin
Savannah pulling open the car door
my brain pings
she's doing the thing with her eyes to the circumcised **** guy
*******
i run to him
"you forgot your jacket, and please don't drive"
i approach him like a stray dog, trying to earn his trust
he lets me hold his hand as i explain it's not safe
he tries to kiss me with his acidic mouth
has he ever done drugs before?
"no"
where are his friends?
"i donno i donno i donno i donno"
he cranks his key into the ignition in all the wrong ways
windshield wipers start going off, blinkers, headlights, the horn
i have the thought that maybe he thinks his car is a Bop-It
"walk with us, don't drive, ok?"
he steps out of the car
"ok"
i lean into the car, finagling his keys out of the ignition
his face changes
he grabs every follicle of hair inhabiting the back of my scalp and throws me into the middle of Haight Street yelling
"who the **** are you who the **** are you"
my body bag of bones smacks down on the pavement
i've never been assaulted by a stranger, only by people close to me
i want to hurt him before he could hurt me again
but he's strong, and more dangerously, paranoid
his fear magnifies mine  
there's no one around to stop him from doing more
she's there, doing the thing with her eyes, she doesn't see me
"i'm trying to help you, Savannah"
his eyes are black
his mind crowded
that chest heaves like a rabid dog
not quite a boy, not quite a man

when there is a raging white male
who sexually assaults you
who uses violence against you

RUN

i have the keys to my car, i can just go
i don't want him to hurt me again
i want to go, i want to go, but i can't leave her
i can't leave her
i scramble to my feet while Savannah watches me
he takes slow steps in my direction

she's on the curb, talking about nothing
they stand so close to each other
i tug her sleeve
"we have to go"
she's not hearing me
"please, let's go"
she waves me off like i used to do
to my younger sister

Savannah is staring at me and in that moment
i believe he could rip me apart at any second

i'm begging now
"if you love me, come with me THIS SECOND, please"
that line always works in the movies,
but life is not a movie
it catches her attention, but not in the way i want
she hunches and steps toward me,
"how dare you say i don't love you?"
"i'm scared, we need to go"
"do you know what i've done for you?"
circumcised **** guy leave
she's stepping towards me angrily,
Savannah steps towards me tentatively,
i'm tripping backwards
"that's not what i meant, please let's go"
my eyes are shifting between them
it's 2am in San Francisco
we're yelling, in front of a bar called Zem Zem
"he threw me into the street"
she's tripping on her own feet

when there's a raging alcoholic
who questions your loyalty
who can't see the bigger picture

DE-ESCALATE

"i'm sorry" / "i'm so grateful for everything you've done for me" / "i really need to go but i don't want to leave you behind because i love you"/ ego stroke / ego massage / ******* deep tissue

we woke up in my little sedan on a San Francisco hillside
my shoulder and ribs were a bit sore thanks to Savannah
my mouth tasted like the darkest parts of humanity
she said we were both in the wrong
"it was the alcohol"

i could have left her

(You will make best use of the following words, if you open the Savannah, Within A Month poem, in another tab.)**

It was brought to my attention that I somehow managed to write ALL of the emotion but too few clues in my piece to relay the entire story.

Though, this was done intentionally, due to my reluctance to actually tell the whole story, I do want you guys to be able to read the words written in between the lines, without my losing what I’ve created, by undoing the strings that weave in and about the poem:

In case you missed it, Judy first reviewed my poem commenting on the wistful feeling that appears throughout the piece and the additional sadness at the end. She thought that, perhaps, my father had left us.

Well.
Yes…and no.
This piece is a really twisty thing of a piece that hangs off the edge of, “Oh, I get it!”
… even for me.
But, it’s that deja vu bit that makes it hard to grasp.
So, let me lay out a few things:

The airport bit, at the end, was referring to when I would leave for Savannah
…indirectly “because,” of my dad leaving.

But, it was just a mental leaving, that happened.
He never actually left.

All of the emotion was there, but I chose to write, instead, about me leaving for Savannah, rather than my dad leaving for another woman.
So, I end up talking about what actually went on, but instead of ending the story with, “and then he left,” i end it with, “and then i left.”

I tend to have trouble putting issues I haven’t actually dealt with yet, into words.
I apologize.
But, somehow, talking about a direct “result” of the issue was easier.

But, the whole foreshadowing of his leaving (which is written in between the lines), shows up throughout the entire poem:

The mood of the relationship between my parents was written into the first stanza.

The way mum thought about the issues between her and my dad, into the second stanza.  

Me wondering about deja vu (and indirectly, from my current standpoint, the deja vu i had just recently (that im almost sure i had then - about them splitting)) + Mum’s frustration and the effect it was having on her, into third stanza.

My attitude about her burning her finger bc of my question, in the fourth.

Her brushing me off about all of it, in the fifth.

My attitude THEN about her brushing the question off + my attitude NOW about her brushing the entire situation off, in the sixth.


-Then, actual recent accounts of deja vu come into play-

I asked dad if he was “working late at the office again,” -
But, immediately, i zone out, bc i’m experiencing deja vu,
(the smell of grits, i inserted to, in a roundabout way, say that it was somehow connected to the earlier events in childhood),
except this time, though it felt like deja vu, it seemed as if i foresaw them splitting when i was younger, but i was seeing it…….just then?

(deja vu is already confusing - and this little twist on it took me for a spin!)

Either way,

The stolen wine bottle was from the deja vu i'd had - It is placed to foreshadow an event that WOULD take place (there is a literal wine bottle i need to secure lol),
But also, since it felt like a foreshadowing, in the past OF the past, the wine bottle symbolizes my parent’s marriage being stolen by another woman.

The still frozen cookies symbolize me feeling like I was, somehow, stuck in my childhood, when it all was happening.

P.S. Not relevant to the understanding of the story, but the cat doubles as me, attempting to get the answers I wanted. I wanted her to just "realize" and use her mother's intuition to just "know" what to say to me and how to say it. But, she didn't. "So, I just asked."

Body of ocean, milk and sky,
We are tangled in the hope of night.
The lips of the milky way, creaming us,
Stains and is **** with a taste keening;
All is creation.  My meteors crash
Into your ruptured Earth.  I flame
Upon your must and moisted furrows
And my toes are locked, rooted in yours.

Body of ocean, milk and sky,
In the deserts of the day you are true
Oasis.  The curves and waft of your sands
Seethe and sodden my barren plains,
Are erasing all my wandering memories
Of an endless sky and now your eyes
Are the only stars I know, and your skin;
A sheet that holds the heavens shimmering.

Body of ocean, milk and sky,
Your ******* are the heaving of grasses
And wind, loft and laden in the rounded
Hills, a hoard of ****** bread, bountiful,
Ripe and strange.  Your hair is an endless
Savannah, your valleys are gold and honeyed
With milk, seared, filled by my penetrating sun.
In passion we play; low on earth and deep in sky.

Savannah is beautiful is she not,
With her lovely homestead lots?
Have you seen her in the spring?
She is the most charming thing.

Azaleas blooming everywhere,
Adorning parks and town squares:
Fuchsia, red, pink, and white.
Such a breathtaking sight.

Dogwoods scattered here and there,
Nestled among the trees.
Magnolia fragrance fills the air,
Borne by gentle breeze.

Wisteria lends a delicate touch.
The aged oak we love so much.
How charming, spirited and brisk;
So beautiful and picturesque.

Crape myrtle with a crimped look
Brightens lawns and scenic nooks.
The river with its gentle flow.
The beach where many love to go.

Juniper, cypress and cedar too,
Give contrast with their dark-green hue.
The sago palm in bold fanfare
Is seen almost everywhere.

Savannah is fortunate to be
Richly filled with history.
Beautiful art for all to see
Adorns the various galleries.

Fancy eating, southern style.
Down-home cooking worthwhile.
A little time is all it takes
To visit the restaurants and lakes.

Come see Savannah in the spring;
Enjoy the view that nature brings.
And may God's blessings ever be
Upon our city by the sea.

before i pull this one out of my *** (again - listen, these words are not coming from either head or heart, it's best to pull them from the bowels, a gut-wrenching-feeling is more potent than that "something" that "something" delusional pulled from a clenched heart... as far as i know, the brain is incapable of emotions, it doesn't understand them, and since it doesn't understand them: it ridicules them)... which brings me to point:

(a) perhaps the idea of a soul is out-dated... why wouldn't it be, 21g worth of breath does not equal a soul... hence the autopsy of man, each detail studied seperately, the cardiologist knows the heart, the neurologist the brain etc., but some items work in a solipsistic mode... the heart is robotic, automaton pump queen (and not the kind of pump you'd get from Shveeden) - thump thump thump! come to think of it, most of our bodies are robotic, automated... lucky for me: i don't have to think about the heart doing what it does, it just per se does it... i'm not even sure i'm gifted with the a.i. brain functions... but there's an underlying principle that governs all of these items... some call it the self... i prefer: the Σ ultimatum... some would call it soul... but there has to be something akin to the Σ ultimatum that allows me to become detached from this body, while at the same time be bound to it: high blood pressure, heart attack on the horizon... take the high blood pressure pills... ****... what was (b)? oh... yes...

(b) i'm sorry, virginity doesn't cut it for me, lucky me that it was isabella of grenoble that allowed me to move aside from: god, prior to losing my virginity.... roxette: do you feel excited, you're still the one (shanaia twain), fade to black - metallica... i was such a romantic before i lost this dreaded curse... i was a romantic... 19th century style romanticism... but you really can see past this sort of romanticism unless you haven't ******... these days the right complains about cultural marxism: plenty of things to complain about... it makes as much sense as a pickle in a dollop of custard... or cooking with pale indian ale to make a stew: bad idea... wine, brandy, cider? fine... beer? terrible idea to cook with... but unless you haven't lost your virginity, you can't see what cultural marxism chose as its opponent: cultural darwinism... you know how little you hear about darwinism outside of the english speaking world? zero to none, yes, it's an accepted fact, but this fact does not permeate outside of the fact per se, the fact contains itself and the whole subsequent narrative because subconsciously stored... no other people than the people who found it ensure there are subplot proof statements of a reconfirmation of the validity... the whole social science bogus trap of rating people on looks... contradicting the meritocracy of that old Socratic saying: let me be as beautiful on the inside as on the outside... if you haven't ******: you're still the same old romantic i was at puberty... once you ****... well... cultural marxism dwarfs... yes yes it's there... so? but at the same time you can at least appreciate seeing the antithesis: cultural darwinism... the romantic needs to die the most carnal death via experience... all my ideals were shattered, this perfection of woman... i very much liked the idea / not even the ideal of a woman... but when the idea fizzled out and there was no ideal to begin with... i saw cultural darwinism for the very first time and... it was as ugly as cultural marxism so heavily criticized by the conservative right of the west... so... i decided to walk the middle ground, ignoring both sides (of the argument).

(c) i wouldn't have come up with a point see, unless my favorite square schematic didn't pop into my mind, Kantian, as ever: the best philosophy is the antithesis of English pragmatism and overt-politicisation, so it has to be German, ergo? i will not explain these terms, i figured: if i nail a decent example to fit each category, that's enough: since you can then visualize the concept via the example:

analytical a priori                           synthetic a priori
there's a need to throw                   learning
a ball at                                                to throw a ball
a target                                                 at a target once
                                                            ­  the need has been
                                                            ­  established...



synthetic a posteriori                    analytical a posteriori
there's a  need to                           perfecting to throw
      throw a ball at                               a ball at a target
a target, in order
to perfect this need...

                                            baseball..­. cricket...
at least: that's how i define knowledge of something
simple without having to use mathematics
that Kant used to explain... 2 + 2 = 4...
mathematics isn't exactly a man's best friend
at explaining philosophy...
you write philosophy that alligns itself
to mathematics... no wonder: moths in books...
yawns, unfinished works...
i found that sports work just as well
as mathematics... and you have the already
primitive objects to work with...
rather than pseudo-objects: i.e. numbers...
the abstracts of perception: i'm actually 6ft2...
not 6ft1... karolína plíšková is 6ft1...
       as noted when watching her today...

  i'll admit, i'm always a bit shaky when it comes
to this sqaure, whether it's over-simplified,
notably the top left corner: analytical a priori,
i'm always of a mindset that wants to associated
this definition with: analytical a- priori...
  i.e. borrowing from atheism:
    to analyse something without there
being a prior to example...
               analysis without a prior example...
i guess that's the mojo of science... the driving force...
back to sports... bow and arrow...
   tools: target...
       whether a bow and arrow and a deer
to begin with...
or a hand and ball and a wicket to end with...

there's a need to throw                  
a ball at a target...

            and cricket was the precursor of
baseball, but prior to cricket?
   there was archery...
              and prior to archery...
   there was forever a fundamental need,
e.g. to go from point X to point Z...
   see... as much as Kant wanted...
   numbers don't really solve the "problem"
of explaining something: algebra would be
better suited... x + y = z...
                    with numbers either hovering
above, or below (in the instance of chemistry's
subscript)...

talking of squares... sūdoku...
well, if at any time the french were to receive a hard-on
in terms of inventing something,
the english: rugby, cricket, football, tennis...
the french really did read some of the hebrew
qabbalah literature, as i am doing...
magic squares...
       the secular version of this puzzle
first appeared on july 6, 1895 (the modern version)...

it came to us from India and China...
again... why do western cultural darwinists
always tell our genesis from
the perspective of: "out of Africa"?
aren't there elephants in India?
            i will not believe i originated in Africa,
i'm not an "out of Africa" sorry state of
incompetence... i place my origins in
the sub-continent... at least that's where my
current language originates from...
the great migration across the Siberian tundra,
rather than some African savannah...
after all the Bangladeshi and the Sri Lankans
(the tear of India) resemble burnt cinnamon
in tone, some even as dark skinned as
east africans...
   if the germanic people want to stick to
the "out of Africa" narrative (notably the English):
let them have it... i place my origins in
India...

   never mind, now i'll write a name's dropping
history of how july 6th, 1895 happened...
the "magic" squares...

    from either India or China (chess from India)...
moschopulus of contantinople
  introduced them (the "magic" squares)
in the early 1400s... apparently ancient qabbalists
had knowledge of them
  (so... a trip well spent)...
                             rabbi joseph tzayah (1505 - 1573)
magnum opus: responsa...
             rabbi joseph castro: avkat rokhel...
tzayah in jerusalem wrote his major work
Evven HaShoham (the onyx stone) - 1538 -
   a year later the book: tzeror ha-chaim discussing
the Talmud: he never really bothered about
the Zohar...
               the hebrai word for "letters": otiot...
divided into two:
                         tav aleph (a line of aleph)
and tav yod (a line of yod)...
                   one is to never concentrate
upon the keter within the realm of the sefirot...
hence the matisyahu expression:
   king without a crown...
                         one example of a "magic" square
later dictated into a 9 x 9 newspaper puzzle?
      2     9     4
      7     5     3
      6     1     8     (up down across = 15...
my date of birth? 15th may 1986,
no coincidence, just stating an oblivion's
worth of a "point)... 15 x 3 = 45...
   and that's about as significant as any
                               insignificance can be...

album of choice?
    old horn tooth - from the ghost grey depths...

and without even associating the arabs
to the hebrai practice of gamatria,
i once inquired an old pakistani (who tried to convert me)
what: Alif, Lam, Meem
implied in the opening of the al-baqarah sutra
implied?
   he replied: god knew...
        so i thought, you don't know what
alif (letter) what lam (letter) and meem (also a letter)
means? you have to search for god
for the answers? good look making me into
a proselyte... mind you:
if the jews abhor proselytes,
while the muslims are so so oh so *******
welcoming... isn't that a tad bit suspicious?
how can a muslim convert me
when he can't explain to me what
alif lam and meem implies at the opening
of al-baqarah?!
            let's play some hijāʾī order game...
and the three letters...
       28 letters in total...
alif (28), lam (6), meem (5)...
    i'm not even going to go into the gamatria
mental gymnsastics related to any
"significance"...
   point was made upon the question being
asked... if a muslim tries to covert you...
and he can't explain to you
the significance of alif lam meem at the beginning
of al-baqarah... they're letters...
well... how is he going to explain to you
what's bothersome about those letters
to begin with? ALM... does that imply: zakat?!
to give alms? zakat being one of the pillars
of islam?
  **** me... i haven't even converted
and it would appear: i know more than the person
who tried to convert me!

.i. Yuri Gagarin and the yo-yo

if ever the potency of a "keyboard crusader"
existed, it's now -
   i can dangle a mouse above a bear-trap
and tell an elephant of a phobia concerning
mice any day of the week,
          when in fact i'm talking about
a mousetrap: nothing more.
     hence the exaggeration in the imagery
comparison:
        or it begins with a story told in the 20th
century:
             when women put down their mascara
brushes, men put down their swords:
never mind the voice in the wilderness:
       mind the voice in the crowd -
there's absolutely no reason to speculate
urbanity and tribal environments without
addressing, or regressing the crowd,
or as i like to call it: what Nietzsche said,
minus the Wake... but now inclusive of the wake
and the Bacchus cult of fun fun fun.
            the Wake in condor terms?
we congregate praying for something to die...
      i don't pretend to be whatever
that sachet of concrete-Cartesian labels entitles me
too:        for the most part
        people say 'i am' without a thought to
govern the rain shaman telling you what thought
is required to 'be', oh, a very old ontological
stipend: you need people to experience a collectivisation,
a herding, a "bound together" sort of mentality
before the critic arrives and says: well, that's not
what i'm really about.
                    a bit like the **** firs, mouth second
debacle...
                but what heart they had, our predecessors!
what heart!
             they'd wage war over a woman,
a Helen,
                  would you wage a war against
the feminist version of Helen these days?
would you pluck a Scottish thistle over an English rose?
      true: you might be a bishop
and of lesser rank... but would you wage a war
over the women of these days?
my **** is in a pickle jar anyway! we have become
a *** of a species unburdened by an obligation...
             finally! we can become eternal bachelors
sort of ******* that we're here, and hear less and less
of sayings about the "things that matter".
            you know what vile? really really vile?
oh i know my contemporaries when i bother to
hear them talk, oddly enough never bother when they
think, i'm quiet content with a Godot stage of
a park bench and an old man as my company,
      i know Douglas Murray,
               i know the wild-eyed Icke,
but a thing that concerns me is why: the safety room
parallel to the leftist thesis of offensive speech
was put in play when a discussion took off
concerning feminism, between milo yiannopoulus
and julie bindel - that's like saying:
ask a pederast to talk for a heterosexual man
with a woman safe-space...
                                no one wants to hear
the heterosexual side of the argument....
  you'll sooner see heterosexual intellects have their
marriages come undone then get paired with either
side of the argument...
     little richard is in the pickle jar anyway,
and he's not coming out...
                it's a bit like ****** for dummies....
       hence i have to succumb to violence without
the glory, tongue waggling blah blah
when i'd gladly take a weapon and shove it into
a shattered cranium bone: had i the ****** chance to
do so!
           no heterosexual is taken seriously:
and won't be:
    of a woman to be like a rosy cushion on which
i can lay my head after the darkly toils of
    roofing, or laying bricks, or excavating the sewers...
no! let the Chinese do that:
the basic argument of slavery, although imported
therefore ****** ******* fine.
                         cryogenic fathers,
      pickled *****:      where's the middle in all of this?
     a coconut just fell from the Boddhi tree:
money!           and those that defend it,
don't know squat about the tribalism of squatters!
but hey! they have the ****** stage!
         i have a bench when someone approaches me
and talk, doing the best thing possible:
               knitting opinions -
i don't want the truth of opinions: i want a sweater,
or a pair of socks! that's metaphor for something
different altogether.
  keyboard crusader? really? can i ask you for
directions to the high street, in every single town
across the country? i can't find one!
         no one hears a heterosexual argument
on the various topics: because there isn't one -
                     as of the end of the 20th century,
working classes in the west striving to ensure
there is something mundane to do during the day
and kick back with the family in the evening
are the "inferior" neanderthals: who
haven't jacked into discovering a 3D reality
of what's otherwise a 2D computer screen and
aren't hooked on #crack;
honestly, so much debating ought to be opera,
and so much opera ought to be debating -
    ah: that famous tingle of utopian paradoxes
never in duality, but always in dichotomy.
   keyboard crusader?
really? i thought people were always moaning
about how many emails they receive:
   and never a single postcard from, say,
someplace like Venice?
           it's still early days,
                   and already we're brewing enough
cliches to replace all known nouns in
    the surrogate mother that's the dictionary
of our completed version of a soul -
if ever to be experienced upon meeting the omni-vocabulary;
jigsaws, i know my idiosyncratic version
of events, he says photosynthesis within parameters
                            of photon deconstruction of hydrogen;
'cos' it's sub; d'uh! i say god i say this perfected
version of nearing telepathy - you say god i hope you
don't mean satan's clause - great anagram to frighten
children with: the Babushka surprise of a Pumpkin head
laughing it's way toward: how easy life would be
if we had all that time to think it through as being hard,
rather than that mortal fleetingness in both thought
and body.

ii. Macbeth

it really dawned on me, when i was watching the film
Macbeth (2015) -
            there was an eeriness to it, a near perfection
of Shakespeare on screen...
           honestly? i'd rather read Kant early on in life
while i have the vigour, and leave old age to Shakespeare...
but it truly was eerie all over the place.
      i do recall seeing Romeo + Juliet
          and reading the script, and imagining the fallacy
of word for word translation from theatre to cinema
of the script: the narrator a news channel anchor,
and everything said, word, for, word.
that film with DiCaprio as Romeo and Claire Danes
as Juliet - it just felt itchy, uncomfortable -
                            Shakespeare, word for word, on screen?!
     (surprise, then astonishment, not !? or astonishment,
   then the surprise, because: it didn't really work);
and it didn't! you can't adapt Shakespeare to the screen
and put everything in! i noticed it at that ******
generous scene in Macbeth concerning the battle
of Ellon... so i was like like... this isn't typescript...
(and thank **** it isn't) -
you can't depict Shakespeare word for word,
to be honest, Macbeth (2015) is the only worthy
translation of Macbeth (the text) into Macbeth (the movie);
all this scientific exactness in previous examples
like Romeo + Juliet, the Merchant of Venice
and a Midsummer's Night Dream don't work,
it's their precision making,
     a theatre cast can take it, but a cinema going crowd,
with all these cutting and copying and repasting
    succinct moments? it doesn't work!
maybe because there's no actual narrator in the staged
examples? narrator as a necessary character understudy:
surely Puck and the news anchor are there:
don't know about the Shylock scenario...
           but these screen adaptations didn't work for me,
too rigid, too formal... in the case of Macbeth?
finally! the long awaited piquant version of Shakespeare:
all that matters, and the rest is thrown into
poetic technique: imagery, metaphor,
                everything that's necessary can be given grammar
as image and not word!
       want an example? from the text...
the Royal Shakespeare
  from the text of Professor Delius
  and introduction by f. j. Furnivall, ll.d.
         vol. v (special edition)
Cassell & Company, Ltd.
        sure, it feels like a Roman Polanski moment
akin to the 9th Gate scenic affair of a bibliophile
fetishist, and it is:

     ... (the only enemy of enso poetry
is the bladder) ...

well the screen play first:

banquo: what are these?
macbeth: live you? or are you aught
                          that man may question?
       speak if you can - what are you?
1st witch: macbeth! hail to thee
                    thane of Glamis!
2nd witch: macbeth... hail to thee,
       thane of Cawdor!
3rd witch: all hail Macbeth! that shalt be king in-after.

but such disparity, such **** as if once
of Lucretia, then of the authority,
for i have before me the original composition:
which is not worth cinema -
nonetheless, a **** takes place:
an assortment for the abdication of a king:
or as ever suggested: the wrong footed path:
never was tossing a coin in a gamble
that of tossing a crown into the air
for a court jester to appear less amusing
and more scolding.

act i, scene iii: post the battle of ellon...
  if ever the refusal to give up Greek myth,
then Macbeth's witches
      and Perseus' Graeae -
                            or naturalise a myth:
like you might not naturalise a strengthened
economy.... canonise the nation
with Elgin Marbles - Elgin: less than
what's said to be the exfoliation of the Aegean -
a municipality somewhere in Scotland:
west of Aberdeen, on the Northern Sea's
battering of the coast...
but word for word? or how to write Shakespeare
into cinema?
                 herr zensor must come into play -
you have to bypass imagery in poetic tongue
and relay it with actual images, a direly needed
necessity:

just after the three witches arrive,
enter Macbeth and Bonquo...

   Macb. so foul and fair a day i have not seen.
Ban. how far is't call'd to Fores? - what are these,
     so wither'd and so wild in their attire,
that look not like th' inhabitants o' the earth,
   and yet are on 't?
             live you? or are you aught that man may
question?
                  (how word for word, but the words
waggle from a different tongue, namely that of
Macbeth, and not that of Banquo, hence
italicised).
                   continuing:
       you seem to understand me,
by each at once her choppy finger laying upon her
skinny lips: - you should be women, and yet your
beards forbid me to interpret that you are so.
Macb. speak, if you can - what are you?
         the witches. all hail, Macbeth!
     hail to thee, thane of Glamis!
         all hail, Macbeth! hail to thee, thane
of Cawdor!
         all hail, Macbeth! that shalt be king hereafter.
            
so does he really belong on the psychoanalytic
couch? is he really that necessarily wonton of talk?
  Cawdor v. Gondor - it's an ongoing narrative.
but is he in need of a couch?
                 what sort of talk is talk when
in fact the only talk that's need to be said is the talk
of man's sexualised naturalisation for strife,
and here: as if knocking on a door:
you want to simply hear the onomatopoeia of
the Kabbalah in a woman gasping for breath
while puny Jewish boys under strict rabbinical
studies study?

                mama, take this badge from  me,
i can't use it, anymore,
            it's getting dark, too dark to see,
feels like i'm knockin' on heaven's door -
      my big mouth and man as a piston
                                               Ferrari acrobat

(even the soundtrack is a shrill, a strangulation
variant of higher pitch of the bagpipes -
not that braveheart ****** of whisking out
a song like for the love of a princess addition to:
  and can i have a madonna to boot too?
it's piercing, a whale sonar above refrigerator
white noise hum for the new age Buddha -
and that's because all the poetry has been excavated
  to suit cinema: not theatre).

and this is the first adaptation of Shakespeare i actually
could stomach...
     the genius was in how Macbeth spoke the lines
of Bonqua - so the character didn't start smacking
the narrative ****** in terms of solipsism:
even Shakespeare can be attacked on this front...
        if in the movie Banqua said all that was in
the typescript: the film wouldn't have worked...
i don't know what the big deal is with Lady Macbeth:
i thought that in the olden days
Macbeth suggested to King Duncan that:
can i leave the warring if you **** my wife?
i can go on the contract that you **** my wife
and i stop serving you?
      first impressions: strange English.
well, i'm sure she's important as it might be said:
within the programme of Orthodoxy,
            but never catholic (metadoxy) tradition of
saying: way hey! ensnare the mare in a funfair!
       and play the game: pin the tale on the donkey!
heads or tails?      it looks pretty damnable
     in the first place: as all honesty hogs to pout and
***** a hoggish sneeze out of the story.

iii. shaken, not stirred

and indeed, how many a times
did not a neon blossom sprout,
thinking it might rattle an oratory
with an oak in autumn, and behold
a swarm of leaves descend -
not out of passing ease,
but out of wishful thinking
that some indentation might be made:
with whom the hands of will reside,
and yet: to no gratifying effect,
to whatever atomic-centralisation
dream, be that ego or be it hydrogen
(lending hands: so too
electric or thus negative, neutral and
thus proto) - shake foundation
and give a revising repertoire of
              the covering dust humanity
that once made famous: never
again to learn the humility of the start;
        to whatever centric dream that
does not waver in demands of orientation,
be it father (sun), son (shadow)
  or the holy spirit (night) -
  make them earn! be obscure!
            or simply say: in the community
of the stated congregation:
  i find all to be as night,
   and safer that plague the father:
  i am not akin to the shadow:
                   but the shadow in mirror.
so, a centric dream that does not
waver in demands for orientation,
has ever or will be enthroned in man's
heart as the stability of Sabbath's demands
       for less, oh so much less to agitate with!
as too, when the ancient appliances
were adorned by countless demands of
mimic, so too our modern
fibbles are to stage a usurping of
such things demanded and their mimic;
for with such disclosure does all fate
of anewed become burdened in what
history could be: shaken,
rather than simply a stirring of the void,
nothing more than the unburdening
of sweetening a cup of coffee, of that and
the layers: or bitter at the top, drank
through toward the sedimented sweetness -
and all that: hoping i could have retained
that silver spoon lodged in my ***
          when i first met her and thought about
consolidating marriage: so fresh, eager prune
of the flesh embodiment as first
    watered ash, then entombed in marble
and the eternal... ah
               but it was all just the faintest of dreams;
so lumberjack sleep ensued,
                      as did a kindred worth ethic:
we are a long way from Eden...
      there is but the idyll of the absurd fruition of
albreit macht frei... or a redefinement of
such stakes as: what occupies our days?
                    if not war, if not disease,
if not the Chinese... what does, occupy our days?

on the board-walk of savannah
where the black men sing gospel
tunes and the white men play a
hearty banjo, the boats float lazily
on the industrial river and the
sun shines through the blue sky
with only wispy clouds to accent
the calmness

on the board-walk of savannah
there are stores of every shape
and size selling a billion things

on the board-walk of savannah
there’s an open air market where
a man named Ligel lives

on the board-walk of savannah
a boy starts a collection with a
single piece of art-work named
“On the Jazz Piano”

on the board-walk of savannah
the boy smiles and takes a
business card but says he won’t
pay $10 for the same piece of
artwork with Ligel’s name on it

in the Marriot of Hilton Head
the boy sits and lets the words
flow from his mind down past
his fingertips

the boy smiles in the mirror
the night is dark outside
a man with orange arms and
blue fingers plays the piano
but all the boy hears is that
this too shall pass

I hope to be there by the morning,
to see you in the sun.
i love the heat brush past my windsheild.
i know you'll be there,
you'll say hello.
you're smiling in love,
we'll know by tonight.
savannah,
we sum up perfection like a handbook.
we'll know more but,
until then.
baby, i spent my life wondering.
wondeing when i'll find you.
i need you to know that,
everything makes sense when you're with me.
savannah,
walk out to the country evening,
the sea breeze brushes your hair to the side of your neck.
all these feelings that are so hard to find,
are just there.
believe me,
we'll know my tonight.
but until then,
goodbye, *savannah.

ESSAYS ON
LEADERSHIP FRONTIERS OF AFRICAN LITERATURE
By
Alexander   k   Opicho




Alexander K Opicho
(Eldoret, Kenya; aopicho@yahoo.com)

TABLE OF CONTENTS
Contents                                                                                                                Page
TABAN MAKITIYONG RENEKET LO LIYONG AND PREFECTURE OF AFRICAN LITERATURE 4
THE CURRENT EAST AFRICA IS NOT A LITERARY DESERT 27
AFRICAN WRITERS HAVE CULTURAL RIGHTS TO FORMULATE AND CREATE ENGLISH WORDS 31
LIKE PUSHKIN, AFRICAN WRITERS MUST CREATE THEIR OWN PROFFESSION OF LITERATURE 35
THERE IS POWER IN THE NAME ‘ALEXANDER’ 40
KENYAN COURTS AND PARLIAMENT ARE BETRAYERS OF HUMANE GOVERNANCE 47
AFRO-CHRISTIAN RESPONSE TO RADICAL LITERATURE IS GOOD AND SWAGGERISH 50
YUNUS’S SOCIAL BANKING IS A GOOD BENCHCMARK FOR THIRD WORLD ENTREPRENEURS 54
HEROISM IS NOT GREATNESS BUT HUMILITY IN SERVICE TO HUMANITY 57
KENYAN STUDENTS; YOUR MOBILE INTERNET CULTURE IS ANTI- ACADEMICS 61
WHAT IS THE MAGIC IN THE WORD ‘DRINKARD’ OF AMOS TUTUOLA 63
SOCIETIES IN AFRICA HAVE TO MENTOR BUT NOT CONDEMN THE LIKES OF JULIUS MALEMA 66
AMERICA WILL NOT WIN THE WAR ON GLOBAL TERRORISM 69
AFRICA CAN OVERCOME A MENACE OF **** IN EVERY 30 MINUTES 71
COMPARATIVE ROLES OF AFRICAN-BRAZILIAN LITERATURE IN THE POLITICS OF RACIAL AND GENDER DEMOCRACY 76
NEO-COLONIALISM IS NOT THE MAIN VICE TO THE GAMBIAN POLITICS 85
RELATIVE MEDIA OBJECTIVITY IS ACHIEVEABLE IN AFRICA AGAINST POWER CULTURE AND TYRANNIES OF TASTE 89
READING CULTURE IS GOOD FOR BOTH THE POOR AND THE RICH 96
VIOLENT DEATH IS THE BANE OF AFRICAN WRITERS AND ARTISTS 100
AFRICAN WRITTERS AND ARTISTS MUST ASPIRE BEYOND A NOBEL PRIZE 104
WHAT ARE CULTURAL RIGHTS OF AFRICAN ENGLISH SPEAKERS? 109
WHY IMPRISONMENT OF WRITERS CONTRIBUTED MOST TO AFRICAN LITERATURE 113
DORIS LESSING: A FEMINIST, POET, NOVELIST, WHITE-AFRICANIST AND NOBELITE UN-TIMELY PASSES ON 121
Amilcar Cabral: Beacon of revolutionary literature and social democracy 127
How the State of Israel is brutally dealing with African refugees 131
Historical glimpses of language dilemma in Afro-Arabic literature 146
THIS YEAR 2013; IS THE YEAR OF GREAT DEATHS 153
AFRICAN LITERATURE WITHOUT POETRY IS LIKE LOVE WITHOUT VAGINAL *** 156



















PROLOGOMENA
BARRACK OBAMA READS MOBY ****
Barrack Obama is reading Moby ****
American president is reading Moby ****
Ja-kogello is reading Moby ****
Ja-siaya is reading Moby ****
Ja-merica is reading Moby ****
Jadello is reading Moby ****
Ja-buonji is reading Moby ****
His lovely Oeuvre of Melville Herman
And what are you reading?

Barrack Obama is reading Moby ****
Because untimely death took his father
Barrack Obama is reading Moby ****
Because untimely death took his mother
Barrack Obama is reading Moby ****
Because untimely death to his brother
Barrack Obama is reading Moby ****
Because untimely death took the grannies
His lovely Oeuvre of Melville Herman  
And what are you reading?

Barrack Obama is reading Moby ****
Baba Michelle is reading Moby ****
Baba Sasha is reading Moby ****
Baba Malia is reading Moby ****
Baba nya-dhin is reading Moby ****
Sarah’s sire is reading Moby ****
Ja-sharia is reading Moby ****
The ****** is reading Moby ****
His lovely Oeuvre of Melville Herman
And what are you reading?

Barrack Obama is reading Moby ****
Because here ekes audacity of hope
Barrack Obama is reading Moby ****
Because here ekes dreams of fathers
Barrack Obama is reading Moby ****
Because here ekes yes we can
Barrack Obama is reading Moby ****
Because here ekes American dream
His lovely Oeuvre of Melville Herman
And what are you readings?

Barrack Obama is reading Moby ****
Because American president is like whale hunting
Barrack Obama is reading Moby ****
Because Obama is a money making animal
Barrack Obama is reading Moby ****
Because hunting Osama is whale riding
Barrack Obama is reading Moby ****
Because hunting Gaddaffi is whale riding
Barrack Obama is reading Moby ****
Because coming to Kenya is whale riding
Barrack Obama is reading Moby ****
Because Guantanamo prison is a bay of whales
Barrack Obama is reading Moby ****
Because Snowden is a Russian whale
Because launching drones is whale riding
His lovely Oeuvre of Melville Herman
And what are you reading, Moby ****?














CHAPTER ONE
TABAN MAKITIYONG RENEKET LO LIYONG AND PREFECTURE OF AFRICAN LITERATURE

I am writing this article from Kenya on this day of 23 September 2013 when the Al shabab, an Arabo-Islamic arm of the global terrorist group the Al gaeda have lynched siege on the shopping mall in Nairobi known as the West Gate where an average of forty people have been killed and a hundreds are held hostage. The media is full of horrendous and terrifying images. They have made me to hate this day. I hate terrorism, I hate American foreign policy on Arabs, I hate philosophy behind formation of the state of Israel and I equally hate religious fundamentalism. Also on this date, all the media and public talks in Kenya are full of intellectual and literary tearing of one Kenyan by another plus a retort in the equal measure as a result of the ripples in the African literature pool whose epicenter is the Professor Taban Lo Liyong .He is an epicenter because he had initially decried literary mediocrity among the African scholars and University professors, Wherein under the same juncture he also quipped that Kenya’s doyen of literature Ngugi wa Thiong’o never deserved a Nobel prize. Liyong’s stand has provoked intellectual reasons and offalities to fly like fireworks in the East African literary atmosphere among which the most glittering is Chris Wanjala’s contrasting position that; who made Liyong the prefect and ombudsman of African literature? This calls for answers. Both good answers and controversial responses. Digging deeper into the flesh of literature as often displayed by Lo Liyong.
Liyong is not a fresher in the realm of literary witticism. He is a seasoned hand .Especially when contributions of Liyong to east African literary journal during his student days in the fifties of the last century during which he declared east Africa a literary desert. In addition to his fantastic titles; Another ****** Dead and The Un-even Rips of Frantz Fanon, Professor Taban Lo Liyong also humorously called Amos Tutuola the son of Zinjathropus, what a farcical literary joke? I also want to appreciate this Liyong’s artfulness of language in this capacity and identify him in a literary sense as Taban Matiyong Lo   Liyong the son of Eshu. He is an ideological and literature descended of the great West African Eshu. Eshu the god of trouble which was dramatized by Obutunde Ijimere in the imprisonment of Obadala and also recounted by Achebe in the classical essays; Morning Yet of Creation Day. I call him Eshu because of his intellectual and literary ability to trigger the East and West Africans into active altercation of literary, cultural and political exchanges every other time he visits these regions. Whether in Lagos, Accra or Nairobi.
Now, in relation to Ngugi and intellectual quality of Kenyan University literature professors was Liyong right or wrong?  Does Liyong’s stand-point on Ngugi’s incompetence for Nobel recognition and mediocrity in literary scholarship among Kenyan Universities hold water. Are Liyong’s accusations of East Africa in these perspectives factually watertight and devoid of a fallacy of self-aggrandizement to African literary prefecture as Professor Chris Wanjala laments. Active literary involvement by anyone would obviously uncover that ;It is not Liyong Alone who has this intellectual bent towards East Africa, any literary common sense can easily ask a question that; Does Ngugi’s literary work really deserve or merit for Nobel recognition or not ? The answers are both yes and no. There are very many of those in Kenya who will readily cow from the debate to say yes. Like especially the community of alumni of the University of Nairobi who were Ngugi’s students in the department of English in which Ngugi was a Faculty during the mid of the last century. Also the general Kenyan masses who have been conditioned by warped political culture which always and obviously confine the Kenyan poor into a cocoonery of chauvinistic thought that Ngugi should or must win because he is one of us or Obama must win because he is one of us or Kemboi must win because he is the son of the Kenyan soil. These must also be the emotional tid-bits upon which the Kenyan Media has been based to be catapulted into Publicity feat that Ngugi will win the Nobel Prize without reporting to the same Kenyan populace the actual truths about other likely winners in the quarters from the overseas. I am in that Kenyan school thought comprising of those who genuinely argue that Ngugi’s literary work does not befit, nor merit, nor deserve recognition of Nobel Prize for literature. This position is eked on global status of the Nobel Prize in relation to Ngugi’s Kikuyu literary and writing philosophy. It is a universal truth that any and all prizes are awarded on the basis of Particular efforts displayed with peculiarity. Nobel Prize for literature is similarly awarded in recognition of unique literary effort displayed by the winner. It is not an exception when it comes to the question of formidability in a particular effort. However, the most basic literary virtue to be displayed as an overture of the writer is conversion of theory into practice. This was called by Karl Marx, Hegel, Antonio Gramsci and Paulo Freire, especially in Freire’s  pedagogy of the oppressed as praxis.History of literature and politics in their respective homogenous and comparative capacities has it that ;There has been eminent level of praxis by previous Nobelites.Right away from Rabitranathe Tagore to Wole Soyinka, From Dorriss Lessing to Wangari Mathai.Similar to JM Coatze ,Gao Tziaping,Alexander Vasleyvitch Solzhenystisn and Baraka Obama.This ideological stand of praxis is the one that made Alfred Nobel himself to to stick to his gun of intellectual  values and deny Leo Tolstoy the prize in 1907 because there was no clear connection between rudimentary Tolstoy in the nihilism and Feasible Tolstoy in the possible manner  of the times .In a similar stretch Ngugi wa Thiongo’s literary works and his ideological choices are full of ideological theory but devoid of ideological praxis. Evidence for justification in relation to this position is found back in the 70’s and 80’s of the last century, When Ngugi was an active communist theoretician of Kenya. His stature as a Kenyan communist ideologue could only get a parallel in the likes of Leon Trotsky and Gramsci. This ideological stature was displayed in Ngugi’s adoration of the North Korean communism under the auspice of the Korean leader Kim Yun Sung. This is so bare when you read Ngugi’s writers in politics, a communist pamphlet he published with the African red family. By that time this pamphlet was treated equally as Mao tse Tung’s collected works by the Kenya government which means that they were both illegal publications and if in any case you were found with them you would obviously serve nine months in prison. And of course when the late Brigadier Augustine Odongo was found with them he was jailed for nine months at Kodhiak maximum prison in Kisumu ,Kenya .O.K, the story of Odongo is preserved for another day. But remember that, this was Ngugi only at his rudimentary stage. But when Ngugi got an opportunity to get an ideological asylum, he did not go to Russia, nor East Germany, Nor Tanzania, nor China but instead he went to the USA , a country whose ideological civilization is in sharp contradiction with communism; a religion which Ngugi proffessess.In relation to this choices of Ngugi one can easily share with me these reflections; is one intellectually  honest if he argues that he is a socialist revolutionary when his or her employer is an American institution like the university of California in Irvine ?
Ngugi was not the only endangered communist ideologue of the time. There were also several others. Both in Kenya and without Kenya. They were the likes of; Raila Odinga, George Moset Anyona, ***** Mutunga and very many others from Kenya. But in Africa some to be mentioned were Walter Rodney, Yoweri Museven,Isa Shivji,Jacob Tzuma ,Robert Mugabe and others. The difference between Ngugi and all of these socialist contemporaries of him is that; Ngugi went to America and began accumulating private property just like any other capitalist. But these others remained in Africa both in freedom and detention to ensure that powers of political darkness which had bedeviled Africa during the last century must go. And indeed the powers somehow went. Raila has  been in Kenya most of the times,Anyona died in Kenya while in the struggle for second liberation of Kenyan people from the devilish fangs of Moi’s dark reign of terror and tyrany.Walter Rodney worked in Tanzania at Dare salaam University where he wrote his land mark book; How Europe underdeveloped Africa. Later on he went back to his country of birth in Africa, Guyana where he was assassinated while in the revolutionary struggle for political good of the Guyanese people. Yoweri Museven practically implemented socialism by fighting politics of sham and nonsense out of Uganda of which as per today Uganda is somehow admirable. Isa Shivji has ever remained in Dare salaam University, inspite of poverty. He is now the chair of Mwalimu Julius Nyerere school of Pan African studies. Jacob Tsuma and Robert Mugabe they are current presidents of South Africa and Zimbabwe respectively. The gist of this reference to African socialist revolutionaries as contemporaries to Ngugi wa Thiong’o is that a socialist revolutionary must and should not run away from the oppressor in to a zone of comfort. But instead must remain and relentlessly fight, just like in the words of Fidel Castro; fight and die in the battle field as long as it is a struggle against the enemy of the revolution. This view by Castro is pertinent as it’s a Revolutionary praxis which actually is redolent of practice of an ideology that has to be held for ever above ideological cosmentics.Ngugi scores badly on this. So if the Nobel academy looks at Ngugi in terms of defending human rights then it must be reminded that Ngugi have no marks on the same because he only ran away from the practical struggle. Anyway, Politics and ideology has its own fate. But let us now come back to literature. Ngugi and his books. As at  this time of writing this essay  Ngugi has published the following works; Weep not Child, The River Between, A Grain of Wheat, Black Hermit, Petals of Blood, Devils on the Cross,Matigari,Homecoming,Decolonizing the Mind, Writers in Politics, Ngugi Detained, Pen Points and Gun Points, Wizard of the Crow,Globalectics,Remeembering Africa, Dreams in Times of War and I Will Marry When I Want as well as the Trial of Dedan Kimathi which he wrote along with Micere Githae Mugo.Out of this list the only works with literary depth that call for intellectualized attention are ;A Grain of wheat, Wizard of the crow and Globalectics. The Grain of wheat is simply a post colonial reflection of Kenyan politics. Its themes, plot, lessons and entire synechedoche is also found in Wole Soyinka’s Season of Anomie as well as Achebe’s Anthills of the savannah. My argument dove-tails with those of Liyong’s stand that rewarding Ngugi’s Grain of wheat and forgetting Achebe’s Anthills of the Savannah and A man of the people would be a literary ceremony devoid of literary justice. Wizard of the Crow is indeed a magnum opus. I am ready to call it Ngugi’s oeuv

From the moment we met on that eventful night,
I've felt something for her unlike I've felt for any other soul.
Her hair was curled, her makeup was neat.
She was beautiful.
She smiled at me a special smile,
And it was that smile I would become accustom to.
She was surrounded by a crowd of exceptional people.
They were a kind of wild and raunchy people I hadn't been exposed to.
Amongst them, she shined like a diamond,
As if she was God and they were all descendants of Lucifer.

I soon became aware that her and I could relate.
Sometimes outcasted by others, we bonded in our strife.
We led similar lives and connected strongly with each other in a friendly, nonromantic way.
Whilst her fellow souls were overflowing with disorder,
We held each other and comforted each other from the unsafe conditions of teenage darkness.
She was misunderstood and so was I.
We were meant to live much simpler lives,
But in our struggle to prosper in what we thought was divine,
We made our lives much more complicated.

She watched me as I drove those familiar roads,
And listened as I talked of my blues.
She empathized with me.
We always got along the best.
Faced with a plethora of teenage hardships,
We always found our way back to sanity.
We always found our way back to each other.
She was everything to me,
And to this day, she still shines like a diamond.
Now, her smile is more than just a smile.
It's a pathway to serenity.

Out of darkness, crept the little white mouse,
whose beady eyes did squint in the sunlight.
Across the blood red savannah did it crawl,
only to stop in the presence of a giant shadow.
With fear flowing through its little red heart,
it gazed up at the frame of the mighty elephant.

None was more feared than the mighty elephant,
none feared it more than the little white mouse,
who was smaller than the elephant’s own heart.
It stood tall and proud under the blistering sunlight,
casting across the savannah its menacing shadow,
the sun’s eternal gaze forcing the dark to crawl.

Petrified, it could no longer find the will to crawl,
peering up in fear at the large grey elephant,
who was content to simply cast its large shadow,
the dense dark swallowing the little white mouse,
darkness so dense it could withstand the sunlight.
Nothing pounded faster than the mouse’s heart.

Loud and heavy was the elephant’s heart,
its design meant that it had no need to crawl,
just as it soaked in all of the leftover sunlight.
There was nothing to fear, not for the elephant.
That was when its grey eyes looked at the mouse,
a little white mouse that was standing in its shadow.

It was so small, like it was swimming in its shadow,
yet for some strange reason it sent fear through its heart,
nothing else filled it with more dread that the mouse,
it suddenly wanted to fall to the savannah floor and crawl
away from such a beast that would terrify an elephant,
a beast that cannot be touched even by the sunlight.

The elephant stood frozen, cold as ice, even in the sunlight.
Beady eyes stared up as it floated amongst its shadow,
every twitch of its nose sent fear through the elephant,
every blink caused absolute terror to enter its heart.
How could this be? It was so small and reduced to a crawl,
yet the mighty elephant was terrified of the little mouse.

The elephant shrieks, and flees into the sunlight.
The mouse scuttles forward, listening to its beating heart.
No need to crawl, just to cast a shadow.