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DisPlace

The Poetry of Nduka Otiono

Afterword by Chris Dunton
By Nduka Otiono
Edited by Peter Midgley
Subjects Poetry, Literary Criticism, Canadian Literature
Series Laurier Poetry Hide Details
Paperback : 9781771125383, 134 pages, October 2021
Ebook (EPUB) : 9781771125390, 134 pages, October 2021
Ebook (PDF) : 9781771125406, 134 pages, October 2021
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Description

DisPlace: The Poetry of Nduka Otiono engages actively with a diasporic world: Otiono is equally at home critiquing petroculture in Nigeria and in Canada. His work straddles multiple poetic traditions and places African intellectual history at the forefront of an engagement with Western poetics.
The poems in this selection are drawn from Otiono's two published collections, Voices in the Rainbow, and Love in a Time of Nightmares, and the volume includes previously unpublished new poems. Peter Midgley’s introduction contextualizes Otiono’s work within the frame of physical and spiritual mobility, diaspora, and newer critical frames like Afropolitanism, attending to form as well as his political engagement. The volume concludes with an interview of the poet by Chris Dunton that touches on the nature of poetry, language loss, and diasporic identities.

Awards

  • Short-listed, Archibald Lampman Award 2022
  • Winner, African Literature Association Award for Creative Writing 2023

Reviews

DisPlace is the contradictory being of Nduka Otiono: He’s “here” in Canada, but he’s also a dissident resident of Nigeria. He exists in the self-appointed Shangri-La that is the once-boastfully slaveholding Americas; but he insists on remaining the anointed exorcist of an Africa still decadent with bullets, with “militicians,” who play baboons rather than messiahs.

- George Elliott Clarke, Parliamentary Poet Laureate of Canada, 2016-17, George Elliott Clarke

DisPlace is the contradictory being of Nduka Otiono: He’s “here” in Canada, but he’s also a dissident resident of Nigeria. He exists in the self-appointed Shangri-La that is the once-boastfully slaveholding Americas; but he insists on remaining the anointed exorcist of an Africa still decadent with bullets, with “militicians,” who play baboons rather than messiahs.