Beat Her to Submission.

The argument started like many others, with raised voices, wounded pride, and words spoken in anger. But this time, it ended differently.

Ikechukwu stormed out of the house, his face tight with frustration, his heart burning with wounded ego. He drove straight to the neighbourhood bar, where his usual circle of friends gathered every evening to drink, laugh, and exchange “life advice.”

When they noticed his gloomy mood, one of them asked,  

“What happened to you, my guy? You look like someone just stole your peace.”

He took a long gulp of his drink and began to narrate everything—how his wife had challenged him, how she refused to agree with him, how she spoke back instead of submitting quietly.

The bar fell silent for a moment. Then the advice came, thick and heavy like smoke in the room.

“You're too soft,” one of them scoffed. “That’s why she dey talk to you anyhow.”

“Beat her to submission. That’s how I trained my wife. Today, she doesn’t open her mouth when I’m talking. She knows who the boss is.” Another boasted proudly.

A third laughed and added,  “Women don’t need soft hands. If a woman is stubborn, reset her mentality with a hot slap.”

“Try it,” someone concluded. “She’ll respect you. You need to show her you’re the man in that house.”

Ikechukwu listened quietly, nodding. These were the same friends he trusted—men who shared their struggles, their secrets, and their so-called wisdom over bottles of beer. Their words sank into his heart like poison disguised as medicine.

A week later another issue came up. His wife, calm but firm, tried to explain her side. She wasn’t shouting. She wasn’t insulting him. She was simply speaking her mind.

But to him, it felt like disrespect.

Suddenly, two slaps landed on her cheeks.

The room went silent.

His wife froze, shock written all over her face. In their four years of marriage, he had never laid a hand on her. Never.

Her eyes filled with tears, but none fell. She said nothing. She simply turned and walked out of the room.

Ikechukwu felt victorious.  His friends were right, he thought.  The slap had shut her up.

What he didn’t know was that long before she became his wife, she had made a promise to herself: “The day any man raises his hand against me is the day the marriage ends.”

The next evening, he returned from work to an empty house.  

No wife.  

No children.  

No explanations.

Only silence.

Confused and angry, he rushed back to the bar.

“Don’t worry,” his friends said casually. “She’ll come back. When she gets tired of staying in her father’s house, she’ll come begging.”

So he waited.

One month.  

Two months.  

Three.  

Four.

No calls.  

No messages.  

No word from her family.

That was when fear replaced pride.

He went searching for them. After several attempts, her family finally allowed him to see his wife. But the woman standing before him was no longer the same.

She was calm. Firm. Unshaken.

“I’m done,” she told him.  “I have moved on with my life. I advised you do the same.”

His pleading and apology failed to move her. She was resolute with her decision.

The slap he gave her lasted only a second.

The consequences took him two years to fix.

—-

The bottom line.

Violence doesn’t build respect.  

It destroys trust.  

And once trust is broken, some things can never be repaired.

What works for others might not work for you.

When love becomes a burden and not a blessing.

The truth dawned on Amara slowly, the way most painful truths arrive; quietly and in moments that seem ordinary until they pile up. She was always the strong one. The one who listened without interrupting, who stayed calm when emotions ran high, who knew exactly what to say when everything felt like it was falling apart.

In the beginning, she didn’t mind. Love, she believed, was patience. Love was endurance. Love meant staying even when it was hard. So when he leaned on her, she stood firmer. When he doubted himself, she spoke with confidence for both of them. When he fell apart, she held the pieces together with gentle hands and tired smiles.

People praised her for it. You’re so understanding. 

He’s lucky to have you.

And those words made the weight feel meaningful—at least for a while.

But slowly, love began to feel like labour.

She noticed she was always the one checking in, apologising first, smoothing things over. His growth depended on her encouragement. His peace depended on her silence. His happiness depended on how much of herself she was willing to give up.@

When she spoke about her dreams, he changed the topic. When she needed comfort, he offered distractions. His attention was always somewhere else—on his phone, his plans, his world. Whenever she tried, the conversation circled back to him—his stress, his past, his struggles. Her needs felt like inconveniences. Her exhaustion went unnoticed.She stopped sharing her worries because there was no space for them. 

The realisation came on an ordinary afternoon. He was upset again, and she reached for the familiar role; comforter, fixer, anchor. But this time, her body resisted. Her chest felt tight. Her hands felt heavy. And a quiet thought surfaced, clear and undeniable. She took her bag and left.

That night, Amara lay awake, replaying conversations, wondering when love had started to feel so lonely. She missed the version of herself who laughed easily, who spoke freely, who didn’t feel responsible for another adult’s emotional survival.

Weeks passed without calls. Days slipped by without messages. One night, she called him.

“Hey,” she said. “I haven’t heard from you for a while.”

“I’ve been occupied,” he replied, distracted. “Work, friends, stuff.”

“Do you ever get occupied with me?” she asked.

There was a pause.

“Amara, don’t start this again.”

She swallowed. “I’m not starting anything. I just want to feel like I matter to you.”

“You’re being dramatic,” he said. “You know I care.”

But his voice didn’t sound like he cared.

Later, she sent one final message: “I’ve been feeling neglected.”

His reply came hours later: “You’re overthinking.”

One evening, Amara sat alone at the bus stop, watching people rush past. A boy ran toward his girlfriend, smiling, holding her bag, laughing at something she whispered. It wasn’t loud love. It wasn’t dramatic. It was present.

That’s when the truth settled in her heart. Feeling neglected wasn’t a misunderstanding.

Feeling uncared for wasn’t imaginary. Men invest where their hearts are.

And his heart simply wasn’t with her.

So Amara stopped begging for attention. She stopped shrinking to fit into someone’s half-effort. Instead, she chose herself.

Because real care doesn’t make you feel invisible. It makes you feel seen.

Love, she understood then, was never meant to be a one-person effort. It was supposed to meet you halfway, not rest entirely on your shoulders. It was meant to nourish you, not slowly drain you dry.

She took a calm decision to stop carrying what was never hers to hold. She expected guilt, but what came instead was relief. Deep, unfamiliar relief.

With time, she felt lighter. Her laughter returned. Her voice grew stronger. She learned that real love doesn’t require you to disappear to keep it alive.

And she never forgot the truth she gained through experience: love that needs you to carry it becomes a burden, not a blessing.

Ngozi Ebubedike Ahumibe

Dike Ekejiuba, Author of Historical Paranormal Fictions

Author's Hangout with Zizi

Dike Ekejiuba is a deep thinker, very philosophical, a prober and a lover of history; no wonder he delved into historical and paranormal fictions. He is the author of Iva, the book that recaptured the murder of twenty-one coal miners at the Iva Valley coal mine, Enugu, on November 18th, 1949.

Can you tell us about yourself — your life, background, and educational journey?

Although born in the east, my early life was spent in the streets of Lagos, specifically in Surulere. After primary education there, I finished tertiary learning at Government College Owerri, before studying Banking and Finance at Imo State University. I worked for about five years before obtaining an MBA from the University of Benin. 

What first sparked your love for writing? Was it a moment, a person, or a particular experience?

When I once read a version of the ‘Three Little Pigs’ tale in a book my dad had bought for me, I was left feeling like the story should have had a different and much darker ending. I then went ahead to write one... and it thoroughly frightened my little brother as well as my 8-year-old self. I’d always been a voracious reader, but that singular experience showed me I could fashion my own stories.

How did you discover your writing genre? What drew you to it?

My genre (historical paranormal fiction) stems from the kind of stories I’ve always been most interested in–less-known history, mythology, indigenous lore and mystery, as well as the supernatural. I’ve written in other genres, of course, and while I love dabbling in suspense thrillers, for me, these that always held the greatest fascination.

Where do your story ideas usually come from, and how do you develop them?

With the knowledge that much of our indigenous history, legend, and lore remains poorly documented and underrepresented, I explored how much evidence of historical events with a paranormal aspect exists right here in our cities, towns, and villages. Doing so, I understood how much of the stories surrounding such true events have never fully been explored and decided to detail them in fiction format... artifacts like the soapstone statuettes of Esie, a town in western Nigeria; the sacred tomb of Bilikisu Sungbo–famous for being said to be the actual biblical Queen of Sheba–in Ijebu-Ode, and the Nsude pyramids of Enugu. These and others are real, tangible evidence of some strange and sometimes wondrous events in our history that deserve not to be forgotten.

Were there any authors or books that deeply influenced you, either growing up or as an adult?

Growing up, my favourite Western authors tended to be in the horror and supernatural suspense genres–writers like Stephen King, Clive Barker, and Neil Gaiman, as well as science fiction authors like Isaac Asimov, Frank Herbert, Phillip K. Dick, and Clifford Simak, shaped my interest in those genres. After a period of not fully appreciating African literary writers, as I grew older, I loved the simple but powerful evocations of Chinua Achebe, John Munonye’s stylings (he actually taught me in college), Soyinka’s prose, and Elechi Amadi’s content. This makes me seem eclectic, to be sure, but if I really had to pick an influence among the indigenous writers I know, it would be Cyprian Ekwensi. I believe his works are still largely unsung in our lifetime, and that he was one of the few great suspense writers we ever had.

What kind of research goes into your writing? How long do you usually spend gathering material before starting a book?

We all grew up hearing fables and urban legends that were cautionary tales for our childhoods. Memories of them, as well as my investigation into what constitutes our various cultures, have proved to be a treasure trove of such accounts, both ancient and modern. Following up on them sometimes proves daunting, I find, and has involved travelling down to historical relic sites, museums, and locations of such events to gather first-hand accounts. Besides that, I employ internet websites and chatrooms to fill out any plotline holes that would prevent my writing from being viable historical fiction. It takes me about a month to gather the information needed to start a book and, barring any unforeseen delays, I usually take about three to four months to produce a first draft.

What’s the strangest or most unexpected thing you’ve ever had to research for your writing?

Visiting the tomb of Bilikisu Sungbo–the woman that the locals claimed was the legendary Queen of Sheba–was a unique experience. Any man entering the tomb ground (women were not allowed inside) was required to go barefoot. Also, any who prayed to her could expect to see their wishes granted, so I prayed for billions, of course! In addition, inspecting the desolate forest site of the Iva coal mines of Enugu, accompanied by a pair of cutlass-carrying young men in a period rife with abduction and ransom of strangers, was nerve-wracking, to say the least.

What were some of the biggest challenges you faced while publishing your first book?

My challenges were pretty much the same as experienced by most writers in a genre as uncommon as mine: time, good editing, publication cost and most importantly, promotion. As I couldn’t attract a traditional publishing company, I had to self-publish the two volumes of ‘Distant Shores’, my novel about the infamous ‘Igbo Landing’ event of 1803.

How many books have you written so far, and do you have a personal favourite?

My published books total four so far, and hopefully I’ll be adding a fifth before the year's end. Of those at various stages of completion, I currently have five: three novels and two short story collections. Picking a favourite of all my works would be like asking which of my children I consider dearest to me–each one was a labour of love... and despair, oftentimes. 

What would you consider your greatest achievement or proudest moment as a writer?

Like any other author, I guess, a great achievement beyond the thrill of finally seeing your vision in black and white would be to gain the recognition of your peers in the field. Right now, I would say being once introduced as an expert on the subject matter of my first book to a room full of erudite scholars and lecturers of Igbo history was a nice feeling, even if I didn’t deserve it!

How do you balance your writing life with your daily work or other responsibilities?

Oh, it's not easy. The pace of activity needed to sustain and raise a family these days is quite daunting. For me, it was only when I scaled back my private business activities due to health concerns that I was able to do more and then consider publishing stuff I’d been scribbling for years beforehand. It’s still difficult, but my family has come to accept my unrelenting passion for this ‘writing thing’ and usually affords me time and space to indulge. Of course, it helps that the kids aren’t so small anymore that they need constant monitoring.

What are some of the most important lessons you’ve learned on your writing journey?

To that, I’ll say I’m still learning and finding my way. My real writing journey really began about five years ago, and I’ve come to appreciate that patience and the willingness to learn and improve your craft are of utmost importance. When it comes to marketing and promotion, I’ve discovered that we as Nigerians seem to have a bias against our own homegrown talents, which is not healthy.

How do you market your books, and which methods have worked best for you?

Beyond the usual marketing tools touted by so-called ‘social media experts’ these days (most of which prove ineffective, anyway), I took advantage of my stories being mainly based on real historical events, or of people, and places. Consequently, I was able to attend ground public events where they are showcased. The last of such was the 75th anniversary of the Iva Coal Mine massacre, which was held in Enugu last year, and on which occasion I was able to hold a joint book launch and reading of my book titled ‘IVA’. The upside of such is the almost guaranteed sales of my books on site, whereas outside of them buzz has remained relatively low. I also try to place my books with book lovers like me who have a large following, to have them talk about it.

What advice would you give to aspiring writers who wish to follow in your footsteps?

Ha–ha... I would say they should not expect to make a good living solely from fiction writing for mass consumption. It’s not to say that there aren’t good returns to be made–after all, the field encompasses a lot more, such as scriptwriting, ghost writing, copywriting, etc, but being a genre author in this day and age requires commitment and patience. Without such qualities, a new writer might face quick disillusionment.

How would you describe the Nigerian creative and literary landscape compared to previous years?

Exciting. And disappointing, but not in equal measure. The recent boom in black speculative fiction is something I love, but the marked dwindling of attention span created by social media is impacting badly on readership levels. Granted, in the past, such diversions were non-existent, but the extent of imaginative laziness–worsened by the advent of AI–is something that doesn’t bode well for creative development, in my opinion. Others may not agree.

How does your family feel about your writing career?

As I previously alluded, their reactions vary discriminately between general amusement and occasional pride. I choose to ignore the former and fully embrace the latter.

Do you see any of your children showing interest in writing as well?

My first son dutifully reads some of what I publish; my last-born son cannot be bothered, but my only daughter, who took to loving storybooks the same way I did in my childhood, is one of my biggest cheerleaders. She has probably read more of my works (whether published or not) than anyone else in the world.

How do you unwind? What are your hobbies or passions outside of writing?

Luckily, I’ve managed to turn my favourite hobby–writing–into a real passion of sorts. Otherwise, I sometimes ride my hybrid sports bicycle along the length of Lagos Coastal Highway as a form of relaxation and exercise. I’m also a big fan of movies, especially ones based on books by any of my beloved authors, as well as characters drawn from comic books and graphic novels.

Where can readers connect with you and learn more about your books?

Since my author website became largely inoperative last year. I now rely more on my link tree, which is: http://linktr.ee/dikeekejiuba. Contained there are links to my published works on both Amazon and Selar, as well as links to my Instagram and my Facebook author page.

T.C Wanyanwu, Author & Poet

Author's Hangout With Zizi

ThankGod Chimenem Wanyanwu, widely known as T.C. Wanyanwu, is a multifaceted author based in Port Harcourt, Nigeria. He is also a media consultant and A Pan-Africanist. Renowned for his impactful works. He is a researcher who explores themes of self-discovery, societal reform, and cultural identity. Wanyanwu is a motivational speaker and certified human developer who leverages education and digital publishing to empower others. Additionally, he is a passionate blogger, book reviewer, and Kingdom Man committed to advancing Christian values.

One thing I noticed while interacting with him is the passion and enthusiasm he brings to his work, whether writing or helping others grow. There is always an inner joy that glows on his face when he speaks about the things he loves, such as writing and books.

Tell us about yourself.

My name is ThankGod Chimenem Wanyanwu, widely known as T.C. Wanyanwu, and I’m a Nigerian-born author, poet, and publishing consultant passionate about storytelling that challenges norms, reawakens minds, and inspires self-reflection. I specialise in crafting works that blend rhythm, rhyme, metaphor, and deep themes—especially those surrounding race, identity, faith, love, and personal awakening. I run a YouTube channel (T. C. Wanyanwu) and also help beginners navigate the world of book publishing on Amazon. I believe in using creativity to heal, educate, and spark change.

How and when did your writing journey begin?

My writing journey began early in life. As a child, I often scribbled thoughts, dreams, and reflections into notebooks, instinctively turning real-life experiences into lyrical expressions. However, it wasn’t until my university days in India that I began writing seriously. It was during this formative period that I published my first book, Jesus Is a Black Man: An Inconvenient Truth—a bold exploration of race, faith, and historical distortion. I immersed myself in poetry and short stories that tackled societal contradictions and personal struggles. Over time, this passion evolved into crafting full-length works that challenge, enlighten, and inspire.

What genre do you write?

I primarily write poetry, non-fiction, fiction (including historical novels), and reflective essays. My poetry often blends social commentary with spirituality, history, and personal transformation, while my fiction delves into love, sin, identity, and redemption

Where and how do you get ideas for your writing?

My ideas come from life itself—my upbringing, African culture, spiritual reflections, media programming, historical realities, and the everyday paradoxes we often ignore. I also draw heavily from conversations, dreams, and silent observations. Sometimes, a single phrase or feeling can birth an entire book.

Is there any author or book that influenced you in any way, either growing up or as an adult?

Yes, growing up, I was influenced by Chinua Achebe for his portrayal of African identity, Maya Angelou for the depth and resilience in her poetry, and later James Baldwin, whose raw honesty shaped my desire to speak boldly about race and identity. Their works permitted me to embrace my truth.

What are the challenges you encountered in getting your first book published?

The major challenges were a lack of guidance, funding, and access to professional publishing resources. I had to learn a lot through trial and error—typesetting, cover design, marketing. Eventually, I taught myself how to publish on Amazon and now help others do the same.

Tell us about your recent poetry book, Whitewashed Black Jesus, and what inspired the collection of poems in the book.

Whitewashed Black Jesus is a poetic collection that explores racial identity, subconscious programming, religious misrepresentation, and the psychological effects of colonial imagery. It was inspired by my personal journey as an African who grew up seeing white saviours and Eurocentric standards dominate spirituality, beauty, and success. The book challenges these constructs, using rhyme and rhythm to awaken the reader.

How long does it take you to write a poem?

It varies. Some poems come in a burst of inspiration and are done in 15–30 minutes, especially when emotions are high. Others may take days or even weeks, as I revise metaphors, tighten the rhythm, and ensure the message is powerfully delivered.

In your writing journey, what are the most important lessons you’ve learned?

The most important lesson is that your truth will always find its audience. Also, consistency and vulnerability matter. I’ve learned to embrace criticism, invest in my craft, and never underestimate the power of storytelling to transform lives.

Give us an interesting fact about the writing of any of your books.

While writing Whitewashed Black Jesus, I often wrote entire stanzas in my head during long walks or quiet nights, then rushed to type them before they vanished. The title itself came from a conversation with a friend who questioned why Jesus always appeared white in African churches.

How has being a writer helped your personality growth, and where do you see yourself in the coming years with your writing?

Writing has helped me become more self-aware, confident, and purpose-driven. It has allowed me to confront my fears, ask hard questions, and connect with people deeply. In the coming years, I see myself publishing more impactful books, mentoring young writers, and using multimedia platforms to share African stories globally.

What are your other interests outside writing?

I enjoy public speaking, technology, music, teaching, and digital publishing. I’m also interested in history, psychology, and helping young people discover their voices.

Where and how do you get ideas for your books? Most of them are fantastic.

Thank you! I get ideas from real-life events, hidden histories, spiritual insights, and cultural observations. I pay attention to the unseen messages in what we’re taught, what we believe, and what we repeat without question. Often, a contradiction in society inspires me to write.

What kind of research do you do, and how long do you spend researching before beginning a book?

My research is multi-layered. I read historical books, religious texts, articles, and documentaries. For some books, I spend weeks to months offline researching, especially when dealing with spiritual, cultural, or historical themes. I verify facts and often speak with people from different backgrounds to deepen my perspective.

How many books have you written? Any favourite?

I’ve written several books, including Whitewashed Black Jesus, fiction titles like Sin Got Me, and others in progress. 

Already published are: 

8 e-Commerce Options & Online Wealth Creation; 

6 Simple Steps To Digitise And Market Your Book By Yourself; 

Awake Through Self-Discovery: Solution Manual; 

Gambling – My Ordeal and Past Experience; 

Judgment Day Of The Lord; 

12 Enslavement Tricks Of Satan And How To Escape Them; 

10 Scriptural Warnings Against Bowing Down to Images Created as God: Uncensored Idolatry in the Church; 

Jesus Is A Black Man: An Inconvenient Truth; 

NnaNna The Strong-willed Child. Whitewashed Black Jesus is a personal favourite because of its bold message, poetic beauty, and cultural importance.

What are your goals, and what do you consider to be your best accomplishment as a writer?

My goal is to inspire a generation of conscious, confident African storytellers. My greatest accomplishment is creating a platform that enables others to publish their books, especially those who previously thought it was impossible. I’ve also built a solid YouTube audience around my work.

What else are you great at that few people know about?

Few people know that I’m also good at graphic design, editing, video scripting, and content strategy. I also have a gift for teaching complex ideas in simple, relatable ways.

What’s your favourite music/film?

I love soulful music, especially songs with deep lyrics—Lauren Daigle, Asa, and old-school gospel. As for films, I enjoy introspective dramas, faith-based movies, and historical films such as The Pursuit of Happyness, Amistad, and Harriet.

How do you relax, and what are your hobbies aside from writing?

I relax by listening to music, walking, reflecting, or watching thought-provoking content. I also enjoy journaling, reading poetry aloud, and connecting with people who think deeply.

How do you market your books? What avenues have you found to work best for you, and has it been rewarding?

I use Amazon KDP and Selar.co, YouTube, WhatsApp Channels, word of mouth, and social media storytelling. I’ve found that authentic connection with readers and consistent visibility are more effective than just ads. It’s been rewarding because people trust what I create.

What advice will you give to aspiring writers, especially those who would want to follow in your footsteps?

Start now. Don’t wait for perfect conditions. Learn how publishing works, invest in editing and design, and don’t be afraid to tell your truth. Even if your voice trembles, use it. Your story matters.

What is your assessment of the Nigerian creative landscape today compared to years ago?

It’s evolving. There’s more access to tools and platforms, but there’s still a need for stronger support systems and more original African narratives. I’m encouraged by the growing number of bold voices, but we must guard against copying Western styles blindly.

What feedback do you receive from your readers about your books?

I’ve received feedback that my books are deep, moving, thought-provoking, and healing. Many say they never saw certain issues the way I present them. Some readers message me with tears, saying I gave words to what they’ve felt for years.

How and where can readers learn more about your books?

Readers can connect with me via my Facebook page (facebook.com/authortcwanyanwu), YouTube channel (https://youtube.com/@tcwanyanwu or my WhatsApp Channel (https://whatsapp.com/channel/0029Va9GC4lAjPXM21r0po2g). My books are available on Amazon, and I share updates, reflections, and writing tips regularly across my platforms

Laugh, it's healing.

God created us to experience joy and happiness. It's no wonder that laughter has a powerful effect on our well-being. It's like a healing balm that soothes our souls and lifts our spirits.

Laughter may not solve all of life's problems, but it can certainly make them easier to bear. When we laugh, our bodies release endorphins, natural painkillers that promote feelings of happiness and well-being. Studies have shown that laughing can reduce stress hormones, lower blood pressure, and even boost the immune system.

Laughter also has a spiritual dimension. When we laugh, we tap into the joy that comes from knowing God and experiencing His presence in our lives.

So, when you feel stressed, anxious or overwhelmed, take a moment to find something to laugh about, watch a funny movie or comedy. Read a humorous book or spend time with friends who make you laugh.

BEING A WOMAN AND MORE (A REVIEW: By Som Ogboh)

Ben Johnson, the writer of the Elizabethan era, sees poetry and pictures as arts of like nature. Reading through the poems in this book, I see different pictures of the author in her different stages of life. 

First, as a dejected widow, a lonely and helpless woman who is merely existing rather than living, a single mother battling with parenting, and then an accomplished writer.

William Wordsworth, the poet of the Romantic England, says that poetry is the imaginative expression of strong feelings, usually rhythmic, the spontaneous overflow of powerful feelings recollected in tranquillity. Edwin Arlington Robinson, an American poet notable for his lyrical and narrative poetry, adds that poetry is the language that tells us, through a more or less emotional reaction, something that cannot be said. 

The poems in this collection, especially in part one, prove the veracity of Wordsworth and Robinson's assertion. Lines 24-32 of Brokenness read:

       "When despair 

       holds sway my heart,

       I pant for words

       with tear-sodden eyes,

       but the weight of my grief

       seizes my voice

      torn in patches,

      I fumble in vain

     to speak"

 

The emotional reaction to sorrow and solitude is the imaginative creation of the poems contained in this volume. This also credits what Nikola Tesla said, that being alone is the secret of invention, and ideas are born when one is alone.

It is said that life is the greatest gift, and thus, one must appreciate being alive. Thomas Hardy, the English poet and novelist who is known as the bridge between the Victorian and Twentieth century England because his novels are strictly Victorian, and his poems belong to the Twentieth century says that poetry is the emotion put in pleasure and measure; the motion must come by nature but the measure can be acquired by art. The poems in part two, with the sub-theme: Celebrating Life, portray Hardy's stance.

Though the author sourced the name Being a Woman and More from the third part of the book, the book is not all about being a woman; it is a collection of lots. First, it is a memoir, then it comes as a charge _ an instruction to keep sailing in the voyage of life even when the elements appear unfriendly; even when there is a reversal of fortune, or twist of fate, one must not lose hope. This reminds me of the words of Martin Luther King on marble: "We must accept finite disappointment, but we must not lose infinite hope". Hope, with its theme of optimism, affirms this. 

Preceding the poems in each part with an introductory note is akin to letting one perceive the aroma of the meal one is about to have. This style is plausible.

Being a Woman and More  is therefore recommended for young 
people, for women, for writers, in fact, for all, because the message of perseverance rings throughout the pages of the collection. 

A REVIEW: By Som Ogboh

The Jester’s Return by Okoye Sunday. (Book Review)

The Jester’s Return is a short satirical play that captures the political affray and fiery furies of the 2023 general election.

In this compelling play, author Okoye Sunday humorously weaves together the chaos, division, and ethnic and religious tensions that defined the 2023 presidential election. 

The heart of the play’s action unfolds at Mama Chukwudi’s Bar. A name that gained cultural significance during the election period, becoming symbolic of the fierce debates and ethnic confrontations that took place in Lagos.  

The altercations in Mama Chukwudi’s bar are a microcosm of the heated arguments,  anger, and antagonism that erupted among supporters of the three major political parties, Obidient, Batist and Atikulate, using their monikers. Scenes that played out in bars and joints nationwide before and after the election.  

The play also takes a bold jab at the corruption within law enforcement and exposes the compromised stance of officers during the post-election protests and their questionable role in the chaos.  

Okoye Sunday masterfully captures this defining moment in Nigeria’s political history, preserving it for future generations in an entertaining and thought-provoking play.  

The Jester’s Return is indeed an apt name for the play. Nigerian elections have long resembled a tragic comedy, where we applaud and cheer for jesters who mock our intelligence—only to have them return every four years with empty promises and to make a caricature of our political polity. 

As long as we continue to vote jesters into power, Nigeria’s democracy will remain a joke.

Review by Dr Ngozi Ebubedike.