By Toyin Falola
The principle of equality is theoretically recognized as one of the fundamental foundations of democracy. Over the years, scholars have argued that equality prevents marginalization, and that the absence of marginalization signifies the existence of egalitarianism. It is in this context that Gbemisola Adeoti’s anthology, Stoning the Wind, flourishes and is to be appreciated.
The poems in this anthology explore the origins of Nigeria’s sociopolitical challenges by revealing the corruption in the system. One of the notable poems which vividly describes this is “The Chameleon and the Soldier Ant.” In this poem, the poet delineates the distinctive traits of the chameleon and the soldier ant, attributing the features of the former to the oppressors (politicians) and those of the latter to the oppressed (masses). The poem reveals and examines the nation’s recurrent challenges with authority, power, corruption, and violence.
Since the dawn of the Fourth Republic, Nigeria’s elections have consistently been plagued by anomalies, malpractices, and violence. This ugly reality has forced many Nigerians to question whether their votes truly matter. According to an article by Budgit.org, the 1993 general elections remain the fairest and freest election the country has ever had. However, its annulment by then-Head of State, General Ibrahim Babangida, serves as a stark reminder of Nigeria’s history of dictatorship and abuse of power. The annulment of the election symbolizes corruption and misuse of authority. While in democratic theories, power belongs to the people, in practice however, it is concentrated among a select few, that is, the oppressors who wield power at the expense of the masses.
The depiction of the Chameleon “saluting the ground beneath the belly” and the “fallen leaves that keep a date with destiny” implies a veneration for the status quo and the government’s consistent nonchalance to the plight of the populace. On the contrary, the soldier ant, symbolizing the downtrodden section of Nigerian society, is equipped with a “flimsy trunk, a fat head, and two cruel teeth as tools of terror.” Despite the soldier ant’s ferocious nature, its power stems from “solidarity and the martial oneness of a centurion,” which underscores the significance of solidarity among the subjugated in the presence of formidable oppression. Perhaps a revolution is Nigeria’s only path to redemption—or perhaps not.
Gbemisola Adeoti suggests that true emancipation from internal colonialism (that is, from the ruling oppressors) lies in unity despite diversity rather than outright rebellion.
In 2019, Omoyele Sowore, a Nigerian activist and journalist, initiated the #RevolutionNow movement, pushing for nationwide rallies to confront the sociopolitical crises affecting Nigeria. It is noteworthy that such uprisings are not unprecedented in Africa; we can consider the Arab Spring upheaval in Egypt as presenting a compelling parallel. Following nearly three decades of President Mubarak’s unjust and autocratic rule, the youth and other concerned factions of the country mobilized en masse, compelling Mubarak to resign on 25th January 2011. Tunisia under Ben Ali is another significant example of an autocratic government. Ali ruled for over two decades without any evidence of economic growth and with widespread violations of fundamental human rights. This incited a revolution in the nation, compelling the dictatorial president to flee in 2011. Recently, protests in Kenya were instigated by contentious proposed tax increases, and the movement has transformed into a fierce campaign for more governmental accountability.
In the poem “Ballot Box,” Adeoti further critiques the widespread electoral manipulation that afflicts Nigerian democracy. The opening line of the poem, “The ballot box is a resonant box that hums himself of hope and gloom,” signifies that the voting box embodies both hope and despair in Nigerian electoral traditions. This is apparent in the nation’s electoral history, characterized by frequent controversy, violence, and claims of rigging. The analogy of the ballot box as a “harlot’s trunk box” illustrates how corruption has wrecked our electoral processes through greed and deception. This is one of the images which carefully depicts Nigeria’s corrupt electoral system. The 2007 general elections are a testament to this claim, as there were numerous negative reports regarding the electioneering. According to the Department for International Development, the April 2007 general elections were said to be the most unjust in post-independence Nigeria. Thus, there is additional proof that elections in Nigeria only benefit the privileged.
According to The Republic’s article “The Many Sins of INEC,” the author conveyed disappointment with INEC’s logistical difficulties in several regions of the country during the last elections. Moreover, multifarious reports of violence and voter suppression were made in major cities of the country, such as Lagos and Rivers. This further corroborates the claim that the innovations of INEC, that is, the introduction of the Permanent Voters’ Cards (PVC) and Bimodal Voter Accreditation System (BVAS), have only brought retrogressive developments to the nation, as the body still struggles to conduct credible elections. The lines “Voters don’t count much as the counters of votes in power” mirror the tainted 2023 presidential election, which was marred by reports of irregularities from journalists and election observers, both local and international observers.
In a 2019 article by Yiagi Africa, it was reported that the 2019 general elections experienced one of the poorest turnouts in the country’s history, with only 32% of the registered voters participating in electioneering. Among the factors that were considered to decline mass participation in elections include inefficient security, violence, and unfulfilled electoral promises. This challenges the legitimacy of authority when the populace abruptly becomes apolitical. Currently, voter suppression serves as a mechanism for manipulating electoral outcomes by dissuading and obstructing individuals from casting their votes. Yiaga Africa stated that the 2019 gubernatorial elections did not occur in about 26% of polling units in Bayelsa. This action resulted in thousands of voters being unable to cast their ballots or make electoral choices—a well-calculated action that ultimately served the interests of a particular group or political party.
Moreover, the depiction of the ballot box as a “presiding priest at the festival of hoax” implies that the electoral process is often a mere facade or mere formalities, with results “preordained” by those in power. The poet alludes to the “chameleon” nature of the voting box, which “swiftly” changes “coats and color” and obstructs the genuine wishes of the electorate.
In “Pandemic,” Gbemisola Adeoti not only criticizes the government but also expresses his worries as a social scientist, recognizing that individuals are influenced by governmental policies, biases, as well as social and environmental factors. The COVID-19 pandemic and its global repercussions are indelible, as the poet asserts that the virus resulted from the global community’s inadequate response to previous pandemics, such as Ebola. The poem continues by examining the unequal effects on the most vulnerable societal members and, at the same time, asserting that the pandemic served as a great equalizer, revealing the frailty of even the most powerful and affluent individuals.
The poem also evokes a sense of responsibility that fosters unity among nations. During this period of devastation, a strong sense of global solidarity emerged. The lines in the poem serve as a poignant critique of the pandemic’s effects on the global economy and geography. The phrase “Many play the flies that follow the corpse to the coffin” implies that many Nigerians have been compelled to adapt to the new reality of the pandemic, while many others grapple to endure in an economy grossly affected by the virus. The line “dying other people’s death in homeland and exile” is a tribute to those who have been compelled to abandon their homes and communities in pursuit of safety, only to encounter the unprecedented challenges of surviving in an unfamiliar and hostile setting.
The poet responded to the Covid-19 pandemic and other evils that have afflicted humanity with his poem “The Next Evil.” “The Next Evil” is a poem that dwells on hope and resilience. The poem’s opening line is a rhetorical question that challenges the thought that hopelessness is the worst affliction we can endure as humans. The lines: “What is the next evil that can befall a man who wakes up from a sleepless night thinking he has lost all light to multiple layers of plight?” is an assertion that hope is the foundation of our beliefs and credence as humans, even in our most desolate moments. In a world that has experienced several physical wars, conflicts, pandemics, lockdowns, and violence, this is a reminder that optimism remains the sole remedy for an uncertain future.
I can’t think of a better way to end this review than by enclosing it with my own poem:
You are the one who speaks truth to power,
The one whose pen breathes for justice
In a land where truth is forbidden
You are the one who challenges the authority
Of the snakes who lure their people
into a den of torture
When the gates of fairness are locked
You command your pen to seek redress.
If not you, what then is the meaning of justice?
And when the voices of the oppressed are silenced,
you amplify their cries, a beacon in the night.
Your words are a ray of hope and a call to action to fight for what is right.
