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<h5 class="wp-block-heading">A
poet is more than a verbal surgeon, a conveyor of psychological malaise or a
linguistic entertainer preoccupied with fixing the problems of society,
expressing personal inadequacies or amusing the sensibilities of the audience.
A poet is also a thinker, a molder of thoughts and actions, a creator of others
in own image with the conscious ambition of imposing his individualistic
conceit on society. To achieve this sublime responsibility, the ambitious poet
must have undergone a robust self-development, rigorous scholarship and
profound investment in research relevant to human existence. </h5>



<p>While
anyone can fiddle with sociology, psychology or anthropology, or even proffer
pseudo-philosophical rants – a common feat among youngsters and trendsters, the
poet under analysis is more concerned with using the lens of knowledge to
influence social perception and human interaction. </p>



<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow"><p>In A Boy’s Tears on Earth’s Tongue, Tukur Ridwan has strived to achieve a feat very uncommon for a young man hitting his silver jubilee. </p></blockquote>



<p>It is trendy to find many brilliant poets and writers pitch their artistic skills in the tent of monothematic issues such as gender, sexuality, social injustice, modernism, irreligiosity, depression, etc. Treating such themes are not only needful but crucial as art is used to sensitize and sensate society. However, his departure from the norm by exploring a plethora of themes – including themes aforementioned, signals that Tukur understands the power of poetry in creating cohesion in a world filled with pathological dissimilitude as well as the role of the poet in making meaning from <g class="gr_ gr_7 gr-alert gr_gramm gr_inline_cards gr_run_anim Grammar only-del replaceWithoutSep" id="7" data-gr-id="7">a surrealist</g> existentialism.</p>



<p>Instructively
too, the book’s title is suggestive that the author’s intention is deliberately
inclined towards helping the reader navigate the world of his poetry through
his lens. This authorial influence serves two purposes: invite the reader to
see the real world through the poet’s vista and subsequently but subtly
influence the reader’s behavior in interacting with the world from an enlightened
perspective. It is therefore not implausible to state that Tukur is more
impressionist in his poems. </p>



<p>In
“hide &; seek”, Tukur begins his reflection on the futility of man’s efforts
in understanding his existence. Just few days ago, a plane crash which claimed
over 150 precious lives was attributed to a systematic malfunction – a
technology touted to be the icon of aviation mastery. As Tukur ponders, “while
in the meantime, we keep seeking / treasures of happiness like luxury / in the
shelter of limousines, waterfronts, / five star hotels, vixens &; private
jets”, we end up becoming “factories, making more / cosmetics of beatitude to
hide inside / while we keep seeking the real bliss”. Man constantly tries to
grasp an illusion by “hiding behind masks of vigor &; peace”, forgetting
this counsel: “look at your mirror, / you would be taught / how hard it feels
to find god’s face / on the screen of heaven—“. The real danger lies,
therefore, in the investment made to present a façade of fulfilment while deep
down, man’s demons “dig / graveyards off our live bodies / to bury pangs of
sharp impacts, / with scars to outlive us without / a dreaded sight for others
to behold.”</p>



<p>Sometimes,
however, dreaded sights are left for others in the form of depression. In recent
times, suicide has been elevated to mainstream discourse as those who took
their lives defied a specific clime, characteristic or class. Tukur’s approach
to depression and suicidal ideation in “killing suicide” offers a realistic
approach without underplaying the reality of suicide. Adopting a conversational
technique, the poet engages the reader on the importance of living despite
life’s “vicissitudes and vanity”. While terrible things happen, the choice to
make meaning for one’s life is personal. He reasons, “man does not poke the
sky’s eyes / with his soul for torrential tears, but / touches the zenith of
his striving soars, / even if his wings seem to be breaking.” Therefore, the
poet urges, “let us walk this road again to the market / of life, &; bargain
with butchers &; mongers.”</p>



<p>An
important human experience often misunderstood is sexuality. Sexuality
transcends morality and religious reticence; it predates every form of
civilization and perversion. Sexuality is an existential trait bestowed upon humanity.
It is an expression of the divine in an intimate and a true form. Exploring
religious intertextuality in “haven grave”, Tukur argues that sexual intimacy
is a spiritual experience which involves a divine participation: “take me /
into eternity, where the eyes / of god is a mirage drawing closer / along a
vast beach / my foreskin will run back &; forth / in your walls for hours
&; poke his eyes / &; hear him scream through your moans”. A causal read
of these lines would suggest a hint of sacrilege; however, a fulfilling
concupiscence often bears a testimony to the name of a deity at the height of
orgasmic climax. The description of the female body as the “house of god”
further underscores the divine responsibility of worshipping in such sacred
temple. A very significant twist in this poem is the contrast between
transcendence and transience. To the poet, sex is the only human experience
that transcends the vain world; as a result, continuous sex is an experience
that take the lovers closer to divinity. </p>



<p>While
the reader may get caught in the beatification of sex in “haven grave”, Tukur
reminds us of another side of sex in “for those whose bodies are tales”. A
subtle reference to the battle of the sexes, the poet portrays how “boys / who
wear clothes bigger than their dreams” devour innocent girls while ladies with
“sacred body parts” are used as bait to “prey on men’s minds &; wallet”.
This is a balanced rebuke of the exaggerated assault of one gender by the
sanctimonious advocates of sensational ideologies. </p>


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<p>The
premise is that those who claim to be feminist do not have the moral ground to
attack all men for the behavior of a few, just like those ladies who “put
linens, skirts and gowns in shame” should not be the standard by which every
female should be judged. The danger of assumptions and undue characterization
often leads to social conflict. An example of this could be seen in how a
religious mind would interpret “This Christmas” as a blasphemy of the Christian
faith, when s/he reads, “Perhaps, Israelites washed jesus’ birth / &;
birthdays with their cums too.” This poem aptly describes activities,
frivolities and orgies associated with Christmas celebration. A satire rightly
delivered, Tukur invites the reader to unravel how spirituality is often the
foundation of carnality or put mildly, how sacred values often lose their
significance over time. </p>



<p>Identity
is a complex human trait. Oftentimes, it is treated as a sexual preference.
However, identity is more than gender fluidity or labelling, it is about a human
understanding of self despite social classification. Tukur treats identity from
an eclectic perspective: as sexuality in “broken mirror”, as gender in “boyhood
as a feeling” and social expectation in “woman”. The poet is fully aware a man
who “needs a man to become a man / hurts in this household of men” or that he
gets “hauled a stone like shaytan in mecca”; Tukur is more deliberate with
approaching sexuality as something personal, with its consequential
psychological and physiological impacts on the individual, especially knowing
fully well that such a person “can’t go back to his placenta for redemption.”
The danger of demanding conformance with established norms, does not only
impact non-heterosexuals, boys who are expected to assume an identity often
“bottle up death inside &; call it strength”.</p>



<p>Self-mutilation,
in order to live up to a social standard created by others, does not only
glorify hypocrisy and falsehood, it has significant psychological impact on the
boy-child. In “woman”, womanhood is presented as the provider of comfort to
others at the expense of the woman. While this is a poem that celebrates
motherhood, the poet reflects how society forces such identity on her: “like
this is what puberty / teaches every girl to become / in the house, before
anything / else, in the eyes of the society.” Here, Tukur is asking the reader
to approach the role of femalehood from a different perspective – beyond just
being “everything / creation craves for comfort”. </p>



<p>The discussion of identity often leads to the conflict between traditional values and modernization (perhaps, westernization should be a better term as no society is immune to modernization). </p>



<p>In “recollection“, Tukur decries the demise of traditional values for “tattoos, piercings &; random / orgies among same sexes as a master key to ultimate liberation”. It is intriguing that the argument for globalization is evident – “because I must expand my scope / &; expose to what would sweeten my tongue.” While this poem is neo-Africanist, the position of this poet is not one which calls for an outright disavowal of western values, especially knowing fully well that some of the custodians of heritage prefer the new world seen on the TV; the poet is calling for a balance between African and western influence without the nihilation of the African way of life. </p>



<p>The
importance of balance is presented in “inheritance”: “a youth must learn the
ancient art / before skin turns to scales” so as to “learn how to swim this
tide called life”. A people without their own values are left at the mercy of a
world that is becoming increasingly nationalist and racial supremacist. </p>



<p>Tukur’s
understanding of human life is felt in a dirge written to protest a system that
favours status above justice. The death of Ochanya, a thirteen-year-old girl
whose death was attributed to a sinister father-son persistent rape, becomes an
x-ray used to unveil how the system is designed to keep the underprivileged
perpetually under. The poem, engaging and provoking, creates a vexation against
the perpetrators of the this unpardonable evil and the system that protects
them. In the “joy of nationhood”, Tukur details how the system has become a
theatre that “tells tragic tales— / sorrow claims the plots of nights” while
there is no hope of a desired future: “they expect us to make peace with a
morrow / that they haven’t impregnated the day with.” The just concluded
Nigerian elections strongly affirm how political leaders have no regard for the
future but the continuance of self-preservation. </p>



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<p>Tukur
has made significant effort to touch on different themes in this collection.
While the intent is to proffer his thoughts on issues that affect humanity,
such as religion, sexuality, depression, individuality vs social conformity,
love, identity, social injustice and political machination, this collection is
not a book of philosophy. Rather, it contains intellect-stimulating poems,
masterfully crafted to capture existential nuances that define our collective
humanity. </p>



<p>The
mastery with which language is used in this collection has deservedly
positioned Tukur as a poet of worth and stature. He attends to his themes with
such precision that the reader connects with each poem without unwarranted
authorial influence. Perhaps, the greatest gift Tukur has given the world is
not just that the poems offer a fresh perspective on dealing with the life’s
complex spectra, it is more of the generosity of the poet to guide the reader
to see the world from an individualist-universalist perspective, more akin to
ethical relativism. The reader becomes aware that he or she is part of the
range of frequencies and must embrace the diversity of human experiences
without losing oneself. </p>



<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow"><p>A Boy’s Tears on Earth’s Tongue is a collection of timeless poems, masterfully written by a mind that is in alignment with existential and essentialist values of human experience – there is a poem that directly engages the reader in a most intimate way!</p></blockquote>



<p>Thank
you!</p>


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<p style="text-align:right" class="has-small-font-size">—<strong> </strong><em><strong>Funso Oris</strong>, Poet, Anthologist, Literary Critic &; Scholar, Chicago, USA.</em></p>
 
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‘TIMELESS, MASTERFULLY WRITTEN’: PHUNSO ORIS’ FOREWORD TO ‘A BOY’S TEARS ON EARTH’S TONGUE’
