In the methodologies surrounding African arts and literature, certain elements emerge from the foundational errors of artistic civilization. Following the compendium, numerous contemporary African writers have adeptly woven iconic figurines and paintings into their narratives.
Joshua’s anthology, Songbook stands out as a significant contribution, showing the poet hanker the essence of lyricism in artistic expressions, and the collective memories of the Black experience in Western society. This work serves as a vital retention of cultural values, establishing a formidable presence within the archives of Black literature, echoing the era of luminaries like James Baldwin, Diop and Wole Soyinka.
The cover of, Songbook, by Joshua Idehen presents a remarkable concept, featuring the ivory mask of Queen Idia alongside two symbols of authority, all set against a serene beach backdrop. This design is akin to a timeless masterpiece, elegantly executed by Bad Betty Press. According to the author, Songbook is a curated series that harmonizes notable works with elements from his archives, forging a connection between music and literature, particularly in the vicinity of Jazz music. I was particularly captivated by the inclusion of QR codes, which allow readers to experience the author performing selected pieces.
Songbook showcases a collection of nostalgic poems, commencing with a vivid comic depiction of black-and-white youths embroiled in a brawl during the industrial era. This altercation appears to have originated in a bar, launching the collection with the striking line, “We are all few Negroes now,” a poem that resonates deeply with me. Within its context, the phrase “blood is thicker than sugarcane” encapsulates a powerful sentiment. The poet employs straightforward language while demonstrating a profound mastery of storytelling, immersing readers in the exhilarating thrill of connection.
As you flip pages, the poet delves into the harrowing legacy of slavery, emphasizing that despite the passage of time, many individuals remain shackled by self-imposed constraints. This poignant narrative serves as a wake-up call for all, urging introspection. Lines such as, “You had me saying prayers in your language, / Made me forget my gods, / Question my spirits. / Forsake my prophets…” create an irresistible allure, compelling readers to delve deeper into the collection. The poet articulates the burgeoning recognition of the BIPOC community with the powerful assertion, “My revolution rides atop a black horse, and it’s stunning.”
Transitioning to the poem “Epitaph for Tamir Rice”, it opens with the provocative inquiry, “What is the market price for a black life? The subsequent lines—”Basic rhymes on logic beat / Pocketful of sticky sweets / Cheeky grins and childish scenes / Skipping class to chill with kin”—evokes a nostalgic reflection on childhood, yet through the lens of a Black child’s experience.
Another noteworthy piece, enhanced by a QR code linking to the poet’s performance, is “River Niger to the Colonisers.” This poem critiques the ramifications of the 1885 Berlin Conference, where Africa was partitioned among European powers. The poet echoes themes of development, illustrating the forced labor and taxation imposed on African peoples, alongside the false claims of discovery that overshadow their rich heritage. The poem culminates with the evocative line, “River don’t know you./ River don’t like you./ River don’t recognise you./ River said watch how you wade”, leaving a lasting impact on the reader.
If numerous Black poets were to focus on meaningful representation rather than contentious subjects, they could serve as catalysts for education and awareness within their communities. In “Bleach,” Joshua Idehen articulates the struggle of some Black individuals striving to assimilate into Western society through the use of cosmetic products, particularly highlighting the phenomenon surrounding “skin lightening cosmetic products.” Although this poem lacks punctuation marks, which may hinder readability, but the author effectively re-engages his audience with the provocative assertion, “your Queen is a reptile.” This line elevates the discourse surrounding the experiences of Black men, fantasising numerous races forgetting that their sisters are Queens while generating a chorus of admiration.
With lines like;
Our Queens walked among us./Our Queens led by
action, by example, our Queens listened./Our Queens made bright futures out of cruel and unfair pasts./Our Queens cried and laughed with us./Our Queens knew they were just like us from the beginning,/not just when it suited them.
This anthology is one I highly recommend for its rich and resonant themes. For those within the Black community who seek reform, it is crucial to acknowledge that at times, confidence can wane when confronted with the realities of being part of a major ethnic minority. Authors like the luminary Black writers unapologetically confront these issues, urging a recognition of identity and resilience. Other poems were “Dark Clouds,” “A Want (riots 2011),” “The World according to your Mum doing the washing,”“Curtain Road,” “Greenfell,” “Lost in the City,” “Prayer for sad times,” “Unfold,” “One final note on London” and others.
Songbook explores various topics, including domestic life and urban existence, while providing contemporary reflections through free verse poetry. Joshua Idehen’s poetry resonates like an orator in the military, leaving readers both inspired and invigorated. The collection serves as a profound exploration of identity, reflecting the multifaceted realities faced by many Black individuals today.
