A Poet’s Quest to Spotlight heritage

Yinka Olatunbosun

“Lagos is Killing Me” by Oloyede Michael Taiwo is a pot-pourri of trenchant poems, each explored with a good measure of honesty and vivid imagination that guides the readers into the heart of Lagos.

The collection tackles an array of topics, from personal identity and social justice to love and everyday struggles, creating a multifaceted portrait of life in Nigeria’s bustling metropolis.

One of the standout themes in the collection is identity, as illustrated in the poem “White Mark.” Here, Oloyede uses the metaphor of a tribal mark to discuss broader questions of heritage and self-perception. The mark symbolises both a connection to tradition and a potential source of alienation in a rapidly modernising world. This duality is captured in the poem’s vivid imagery and nuanced language.

In “Naija Wahala” and “Orita meta,” Oloyede shifts focus to the societal and political turmoil in Nigeria. These poems are raw and unfiltered, exposing the reader to the harsh realities of corruption, inefficiency, and the struggles of everyday citizens. The texture of these poems is gritty and unrelenting, with stark, powerful lines that resonate long after reading. The poet’s choice of words, though sometimes overwhelming, serves to underscore the intensity of the emotions and situations described.

“Fela,” a tribute to the legendary afrobeats musician Fela Kuti, stands out for its celebratory yet complex portrayal of the icon. Oloyede captures Fela’s indomitable spirit, his music, and his activism with a lyrical grace that is both poignant and reverent. This poem works particularly well due to its rhythmic quality and the way it encapsulates the essence of Fela’s multifaceted legacy.

In the deeply personal “First Kiss,” the reader is transported into a moment of intimate nostalgia. The poem’s strength lies in its relatability and emotional depth, evoking the awkwardness and magic of a first romantic encounter. The language here is tender and evocative, painting a vivid picture that will resonate with anyone who has experienced the tentative excitement of young love.

“Sars” is perhaps the most harrowing piece in the collection, detailing the brutal activities of Nigeria’s Special Anti-Robbery Squad. The poem’s disturbing imagery and searing critique of state-sanctioned violence are designed to provoke a visceral response. Lines such as “Shed enough blood and brag of no consequence” cut deep, reflecting the horrors endured by victims and the impunity of the perpetrators. This poem’s raw power and emotional weight make it one of the most compelling in the collection.

Throughout “Lagos is Killing Me,” Oloyede’s strengths are evident in his unflinching frankness and rich imagination. This tour de force is a profound and evocative collection that resonates deeply with the socio-political landscape of contemporary Nigeria. As an art critic, one cannot help but appreciate the way Oloyede’s poetry captures the essence of a nation grappling with the antinomies of modernity as well as the pervasive kleptocratic tendencies of its leaders.

This collection is a powerful addition to contemporary poetry, offering a window into the soul of Lagos and its inhabitants. Oloyede’s ability to balance horror with beauty, and personal with political, ensures that this collection will leave a lasting impression on its readers.