Just Adachi

My love,  they say the clouds are gathering for a protest and has said woe betide the uncovered skulls caught in it. The national grid has fallen on it knees again,  in despair or supplication,  I cannot tell. So I light the scented candles we saved from our last time together,  to watch the shadows grow, and think of you, and the last words you spoke. You said the mad men have started again,  and everyone watches with winter frosted  glasses. But darling, we are Aba-made; like the tinker,  we have learned to beat tin scraps into pans. I’ll tie my wrapper tighter, plant ugu and  cassava, and tell the hungry ghosts to wait a minute. My love is not a thing they’ll get their hands on. I see the men at the newspaper stands, the young ones salivating at the prospect of witnessing history they only read about; the old ones shaking their heads at them. I write the rising prices as prompts  for stories that will be told one day. My blue jerrycan is r...

The pen is heavy.  Heavier than the hoe I swung in the sun. Heavier than the basket of yams I carried down from the farm. Heavier than the baby who only chose to draw breath outside this world. This little stick of blue plastic, it has the weight of a grinding stone. My name is Uwalaka.  I am seventy-three seasons old. All my life, my mouth has been a locked box, and the key was swallowed by my father, then my husband. When I was a girl, I saw the moon split the sky in two, a silver gourd pouring light. I ran to my mother, my voice a small bird in my throat. “Mama, Mama, the moon has broken!” She pressed her hand, dry and cracked like old leather, over my lips. “Shhh, Uwa. A girl’s words are like smoke. They have no place in the air. Shut your mouth.” The bird in my throat learned to be silent.  It built a nest of stones. When I was a wife, I felt a pain like a hot coal in my belly, a different pain from the one that brought my children. I tried to tell my husband, his ba...

A young man was recently killed in Nigeria for being gay. His death was not quiet. It was not private. It was public, brutal, and—most disturbingly—celebrated. Men applauded. They cheered. They filmed. They shared the videos with captions dripping with righteousness, as if they had just rid society of a plague. And I want to ask a simple question: So he was gay. What about it? What about his sexuality warranted death? What about two consenting adults loving each other in private justifies mob violence? What about homosexuality is so threatening to our collective survival that we must hunt down and eliminate gay men and women? The answer, of course, is nothing. There is nothing about homosexuality that threatens Nigeria. But everything about our response to it reveals the rot at our core. Our obsession with policing other people’s sexuality exposes not moral clarity, but moral bankruptcy. It reveals our collective insecurity, our desperate need for scapegoats, and our willingness ...

Panic grips the edge in a bid to climb up. Stoicism and optimism, frantically, try to pry off its fingers. Later, the quiet: panic skulking in the shadows.

The global spotlight recently fell on Nigeria through the viral tour of streamer iShowSpeed. While his travels in other African nations showcased cultural immersion, rich heritage and positive interactions with people, his experience in Nigeria infamously devolved into a chaotic display of what many have termed our "begging culture." The outcry has been swift, blaming disorganised influencers and oblivious tourism bodies. But this incident is not an anomaly; it is a stark symptom of a deeper national disease. Our problem is not a lack of tourist sites or events, but a profound failure in our people culture, which happens to be the very foundation of tourism and hospitality. The common rebuttal is that "not all Nigerians" are like this. True. But tourism is not an exercise in statistical averages; it is a chain of consecutive experiences summed up in a feeling. Imagine a crate of eggs where a significant portion is stale. Your gratitude for the good eggs is overwhelm...

I usually let my poems speak for themselves, but 'Becoming' requires a bridge between two worlds. When I first heard the relentless, labouring cadence of Rudyard Kipling’s Boots, I didn’t just hear soldiers marching; I heard the rhythmic thud of hoes against red earth and felt compelled to reimagine that cadence for a 16th-century Igbo maiden, a girl caught between her own fear and her role as a reluctant sacrifice to shield her village from raiders. This is the rhythm of her transformation from a daughter of the soil to Ala itself.

Obu Nanka Photo credit: Dr. Ikenna Ezeasor