In Chris Dunton’s review of \u2018Camouflage\u2019: Tales from the powerhouse of modern African writing, Chris writes “Nigeria is without doubt the powerhouse of modern African writing”, “this has to do with a number of factors, all of which are grist to the creative writer\u2019s mill: the sheer size of the place, its complexity and dynamism, and its host of unresolved problems.”<\/p>\n
Edited by Nduka Otiono and Odoh Diego Okenyodo, the second edition of Camouflage: Best of Contemporary Writing from Nigeria is continuing to generate great reviews.<\/p>\n
There is no arrangement by theme or genre to the close to 200 pieces contained in the anthology; the editors note \u201cwe have allowed the works to flow as freely as possible . . . That way, the reader will have to turn the pages, unsure of what to expect next, except perhaps, surprises.\u201d The anthology has 71 contributors ranging from ages 24 – 46, aside from Afam Akeh who is 60.<\/p>\n
The book opens with a poem about poetry and the role of the writer, Akeh\u2019s The Living Poem: \u201cThis is poetry as she breathes, \/ popping like corn, as she sits in a Lagos stall \/ talking clever with the touts.\u201d The same poet\u2019s Three African Lives introduces subject matter that recurs throughout the book: the scourge of Nigeria, namely, its politicians and military dictators. On that score I can\u2019t resist quoting the final poem in the cluster by Akeh, National Broadcast: \u201cAny thought found loitering \/ Will be arrested, charged with treason.\u201d<\/p>\n
On the same core topic is a volcanic satirical poem by Pius Adesanmi, one of Nigeria\u2019s brightest stars, who died in last year\u2019s Ethiopian Airways plane crash. His Message from Aso Rock has the military head of state railing against the country\u2019s Nobel prizewinner, Wole Soyinka: \u201cWe invited him to come and eat \/ He clung to a pen, clung to shit.\u201d<\/p>\n