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Maik Nwosu is back with a Fantastic Tale in “The Book of Everything” —Olukorede S Yishau
The Book of Everything, Crossroads, New York, 2025. pp. 201
Born To Run: A review of Olatunji Ololade’s “Of Gods and Their Claytoys”—Olukorede S Yishau
...FabledMuse Publishers, Lagos, 2025, pp.336
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The Book of Everything is laced with humour, much of it delivered through the unforgettable Uncle Ibe and Egwuatu, the lawyer whose diction is gargantuan. More than once, I found myself chuckling, pausing to relish the wit before continuing. Told in the first person and set across America, Nigeria, and South Africa, Nwosu explores the clash between the ancient and the modern and the ordinary and the fantastical in prose as smooth as honey
However, if I turn a blind eye to these inconsistencies, I would place Baby Farm as one of the most thrilling offerings from the Nigerian film industry. There is a seamlessness to the production that doesn't feel forced. Characters, through the actors, come to life in this
Chioma and Obiora are instantly enamoured of each but after a few dates, her feelings for him start to thaw — not because she's still in love with her ex-boyfriend, Chris, or because she discovers something distasteful about Obiora's past, but for a very silly and flimsy reason: Obiora's Igbo accent.
Two exceptions stand out: Olarotimi Fakunle as the prison warden, Marshal, and Itele D Icon as Suky’s mentor, Ijaya. Fakunle delivers a commanding performance, infusing Marshal with a chilling blend of authority, humour, and menace. His presence looms over Aja Prison, making it clear why lawlessness thrives under his watch.
Morayo is just a nominal dedication with erratic lyrics, jumping between different ideas, moods, and styles. It feels fragmented, thematically reflecting an artist at a crossroads. It oscillates between Wizkid’s penchant for romantic, mellow tendencies and upbeat, danceable tracks. The result is a sonically rich yet thematically inconsistent experience
One remarkable attribute of Fireboy is his ability to blend sublime lyrics with the mundane (Lamba). Throughout the album the lyrics poetically explore the complexities of romantic relationships with a touch of levity. The album is well-sequenced from the opening track to the end, but the smooth transition from “obaa sima” to “need me” is simple yet beautiful.
We live in an era defined by artistic collaboration that defy borders. It’s understandable for an artist to seek international collaborations to broaden his horizons but some of the guest artists on Lungu Boy, though talented on their own, can’t seem to connect with Asake's Lagos street life, especially the Isalẹ Èkó street culture
The Book of Everything is laced with humour, much of it delivered through the unforgettable Uncle Ibe and Egwuatu, the lawyer whose diction is gargantuan. More than once, I found myself chuckling, pausing to relish the wit before continuing. Told in the first person and set across America, Nigeria, and South Africa, Nwosu explores the clash between the ancient and the modern and the ordinary and the fantastical in prose as smooth as honey
“Of Gods and Their Claytoys” unfolds predominantly in Lagos, Ogun and Enugu and brims with remarkable characters. There's Chiamaka, a fierce feminist who eats like a newly freed convict, drinks like a sailor, and loves with the hunger of a nymphomaniac. Mama, the only mother he has ever known, provides a grounding presence. Then there's Gbotie, the closest thing RB has to a father figure
Ultimately, A Journey in Service is less an honest reckoning with history and more an exercise in self-justification. It offers some insight into Babangida’s thinking but fails to confront the full weight of his administration’s failures, making it a disappointing, incomplete and highly selective account of his legacy.
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