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A testament and cautionary tale: Chiazor-Enenmor’s ‘See Morocco See Spain’ – Akumbu Uche
See Morocco See Spain, Purple Shelves; 2025, pp. 354
Skirting the thin line between fact and fiction in Arundhati Roy’s “Mother Mary Comes To Me” – Olukorede S Yishau
...Mother Mary Comes To Me, Scribner, 2025, 352 pages.
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Aside from its focus on the persistent pull of depression and suicidal thoughts, the film also shows how younger people battling depression and other mental health challenges seek support through social media like WhatsApp, Telegram, or Facebook to help themselves heal. While occasionally helpful, these groups often devolve into corrosive and illogical spots for peer pressure, where suicidal tendencies are encouraged and reinforced.
A strong thread running through the film is the idea of desperation, not just the kidnappers’, not just the families’, but a national kind of desperation that corrodes values and bends every character toward self-preservation.
Despite all these, My Father’s Shadow is not a dirge. Its fragmented form allows for moments of tenderness and beauty, even humour. These flashes underscore the resilience of ordinary Nigerians, who, despite betrayals by their leaders, continue to love, to sing, to imagine futures for their children.
Lyrically, the album resists tidy interpretation. Shallipopi prefers suggestion to clarity, repetition to exposition. Phrases loop until they begin to feel hypnotic, as though meaning might eventually reveal itself through repetition an observation that one might also make about Omah Lay. It may seem like laziness, but it is a strategy. “Laho” is a quintessential example. The repetition of the word “Laho” makes it an ear worm and a global hit.
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Besides that, the album is well-curated and Bella Shmurda's collaborators perform remarkably, helping him achieve his purpose. “This kind of music is my essence, it's my purpose,” Bella Shmurda said in a video before the album was released. “The greatest war is sanity…it's a battle with yourself."
As the story unfolds, Chiazor-Enenmor dispenses with the multi-perspective approach, and Nosakhere emerges as the main protagonist of this tale. Unfortunately, even after overcoming multiple hardships and setbacks to reach his destination, a happily-ever-after ending remains elusive as his problems continue to compound. Presented with limited options and with very little time to philosophize over them, he blunders his way through decisions that take him further away from ever integrating into respectable European society, and deeper into its underclass.
The political violence was pervasive as Marxists railed especially against Maoists. Roy recalled a particular incident where Maoists, who were far-left, radical insurgents and who had broken away from the Marxists whom they saw as bourgeois beheaded one of them and hung his head on a pike. These believers in armed revolution were also known as Naxalites. It was the poor versus the rich with the poor and their supporters believing that the rich deserved to be wiped out for them to inherit the earth.
From the outset, the novel establishes the dreadful gravity of this decision. On page 39, an elder observes, “When the gods want to bring down a man's house, they set in motion a chain of events that lead to his downfall.” Yet as the narrative unfolds, Patrice emerges not merely as a victim of metaphysical forces, but of rigid standards of masculinity that leave him unable to retreat without feeling emasculated. To admit fault, in his mind, would be to embrace weakness.
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Beatriz González, the formidable painter who redefined Latin American art through her bold “remakes” of Western masterpieces and unflinching political...
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Now based between Lagos and Toronto, Elsie is bringing a new kind of African digital storytelling to the world. She’s bilingual in culture, able to code-switch between Afrobeat street trends and Western pop references with ease. This ability to exist in multiple cultural spaces without diluting her message makes her relatable, magnetic, and globally relevant.
Because of this, our environment becomes vital to our progress. As a fifteen-year-old, I knew this intuitively, not as I know it now, not theoretically. I knew that my environment was limited in significant ways. It wasn't one for creativity or imagination. It lay at the tail end of cynicism
