This cold weather is here again.
This cold weather is here again.
How many layers do I wear just to go and get a cup of coffee from Starbucks?
Six layers.
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FORGIVE US OUR SINS
When are we going to have orisa legislations in the southwest Nigeria to prosecute blasphemy against indigenous Orisa and Irunmole, with the imposition of death penalty on anybody who blasphemes against our indigenous holy names?
For example, should there be a death penalty imposed on anyone who calls Esu “Satan,” as believers do in churches and mosques daily in Yorubaland?
GRATITUDE
Words cannot express the magnitude of my gratitude to you, my great and wonderful friends, for the beautiful messages of love you sent to me on my birthday.
That day a friend took me to a secret hideout by the Colorado River, and we had so much fun.
I love you all.
ENGLISHMAN IN BENIN CITY, 1981 (Part Seven)
Rufus froze when he saw Obaseki moving towards our table. His jawline tightened. The grotesque was unmasking. I understood the meaning of that facial reaction. When a cobra flattens its head and its neck while lifting up its body off the ground to the torso level, even a baby knows what that means. We had crossed the red zone. I immediately got up and picked up the tumbler in front of him before it became a scud missile. My movement also distracted him for a moment. This was the climactic moment that had been building up for a year.
Iginsogba
Thanks to all my friends who reached out yesterday to greet me on my birthday.
It was fun to turn 63.
Do you know this amazing plant called Iginsogba?
I started harvesting it to make an interesting product.
The Not-I Bird (After Wole Soyinka’s Poem in DEATH AND THE KING’S HORSEMAN)
Artist: Moyo Okediji
Title: The Not-I Bird (After Wole Soyinka’s Poem in DEATH AND THE KING’S HORSEMAN)
Wole Soyinka: The Not-I Bird
“Not-I became the answering-name
Of the restless bird, that little one
Whom Death found nesting in the leaves
When whisper of his coming ran
Before him on the wind. Not-I
Has long abandoned home.
ENGLISHMAN IN BENIN CITY, 1982 (Part 38)
“Wole Soyinka wants to have a word with Rufus. Tell him to come as soon as possible. Kongi travels out of the country next week,” was the simple message that I got back from Kole Omotosho.
Omotosho was the head of the Dramatic Art Department, University of Ife. He sent a driver to me to collect a manuscript, “Marx and Mask,” written by the brilliant Ghanaian writer, Ayi Kwei Armah.
Soyinka regularly received manuscripts from several writers, and after making copies, he would distribute the manuscripts among his circle of intellectuals who met at least once a week to read and discuss the manuscripts.
