{"id":908,"date":"2016-01-04T22:23:30","date_gmt":"2016-01-04T22:23:30","guid":{"rendered":"http:\/\/www.poetsinnigeria.org.ng\/?p=908"},"modified":"2016-01-04T22:38:36","modified_gmt":"2016-01-04T22:38:36","slug":"language-and-aesthetics-in-eriata-oribhabors-abuja-na-kpangba-an-oda-puem-dem-ifra-oribhabor-2011-a-review-by-akwu-sunday-victor","status":"publish","type":"post","link":"https:\/\/www.poetsinnigeria.org.ng\/index.php\/language-and-aesthetics-in-eriata-oribhabors-abuja-na-kpangba-an-oda-puem-dem-ifra-oribhabor-2011-a-review-by-akwu-sunday-victor\/","title":{"rendered":"LANGUAGE AND AESTHETICS IN ERIATA ORIBHABOR\u2019S ABUJA NA\u00a0KPANGBA\u00a0 AN ODA PUEM-DEM: (IFRA &amp; Oribhabor, 2011) \u2013 A REVIEW by AKWU, Sunday Victor"},"content":{"rendered":"\n<!-- WP QUADS Content Ad Plugin v. 1.7.8 -->\n<div class=\"quads-location quads-ad1\" id=\"quads-ad1\" style=\"float:none;margin:0px;\">\n\n <!-- WP QUADS - Quick AdSense Reloaded v.1.7.8 Content AdSense async --> \n\n<script async data-cfasync=\"false\" src=\"\/\/pagead2.googlesyndication.com\/pagead\/js\/adsbygoogle.js\"><\/script><script type=\"text\/javascript\" data-cfasync=\"false\">\nvar quads_screen_width = document.body.clientWidth;\nif ( quads_screen_width >= 1140 ) {\r\n\/* desktop monitors *\/\r\ndocument.write('<ins class=\"adsbygoogle\" style=\"display:block;\" data-ad-client=\"ca-pub-5983616716487778\" data-ad-slot=\"\" ><\/ins>');\r\n(adsbygoogle = window.adsbygoogle || []).push({});\r\n}if ( quads_screen_width >= 1024  && quads_screen_width < 1140 ) {\r\n\/* tablet landscape *\/\r\ndocument.write('<ins class=\"adsbygoogle\" style=\"display:block;\" data-ad-client=\"ca-pub-5983616716487778\" data-ad-slot=\"\" ><\/ins>');\r\n(adsbygoogle = window.adsbygoogle || []).push({});\r\n}if ( quads_screen_width >= 768  && quads_screen_width < 1024 ) {\r\n\/* tablet portrait *\/\r\ndocument.write('<ins class=\"adsbygoogle\" style=\"display:block;\" data-ad-client=\"ca-pub-5983616716487778\" data-ad-slot=\"\" ><\/ins>');\r\n(adsbygoogle = window.adsbygoogle || []).push({});\r\n}if ( quads_screen_width < 768 ) {\r\n\/* phone *\/\r\ndocument.write('<ins class=\"adsbygoogle\" style=\"display:block;\" data-ad-client=\"ca-pub-5983616716487778\" data-ad-slot=\"\" ><\/ins>');\r\n(adsbygoogle = window.adsbygoogle || []).push({});\r\n}<\/script>\n\n <!-- end WP QUADS --> \n\n\n<\/div>\n<p><a href=\"https:\/\/i1.wp.com\/www.poetsinnigeria.org.ng\/wp-content\/uploads\/2016\/01\/12490141_1191280464234867_1344834341_o.png\"><img data-attachment-id=\"909\" data-permalink=\"https:\/\/www.poetsinnigeria.org.ng\/index.php\/language-and-aesthetics-in-eriata-oribhabors-abuja-na-kpangba-an-oda-puem-dem-ifra-oribhabor-2011-a-review-by-akwu-sunday-victor\/12490141_1191280464234867_1344834341_o\/\" data-orig-file=\"https:\/\/i1.wp.com\/www.poetsinnigeria.org.ng\/wp-content\/uploads\/2016\/01\/12490141_1191280464234867_1344834341_o.png?fit=863%2C1280&amp;ssl=1\" data-orig-size=\"863,1280\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"ABUJA NA KPANGBA  AN ODA PUEM-DEM\" data-image-description=\"\" data-medium-file=\"https:\/\/i1.wp.com\/www.poetsinnigeria.org.ng\/wp-content\/uploads\/2016\/01\/12490141_1191280464234867_1344834341_o.png?fit=202%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i1.wp.com\/www.poetsinnigeria.org.ng\/wp-content\/uploads\/2016\/01\/12490141_1191280464234867_1344834341_o.png?fit=690%2C1024&amp;ssl=1\" loading=\"lazy\" class=\"size-medium wp-image-909 alignleft\" src=\"https:\/\/i1.wp.com\/www.poetsinnigeria.org.ng\/wp-content\/uploads\/2016\/01\/12490141_1191280464234867_1344834341_o.png?resize=202%2C300\" alt=\"ABUJA NA KPANGBA AN ODA PUEM-DEM\" width=\"202\" height=\"300\" srcset=\"https:\/\/i1.wp.com\/www.poetsinnigeria.org.ng\/wp-content\/uploads\/2016\/01\/12490141_1191280464234867_1344834341_o.png?resize=202%2C300&amp;ssl=1 202w, https:\/\/i1.wp.com\/www.poetsinnigeria.org.ng\/wp-content\/uploads\/2016\/01\/12490141_1191280464234867_1344834341_o.png?resize=690%2C1024&amp;ssl=1 690w, https:\/\/i1.wp.com\/www.poetsinnigeria.org.ng\/wp-content\/uploads\/2016\/01\/12490141_1191280464234867_1344834341_o.png?w=863&amp;ssl=1 863w\" sizes=\"(max-width: 202px) 100vw, 202px\" data-recalc-dims=\"1\" \/><\/a>Language plays vital role in artistic composition. Oribhabor\u2019s collection of poems is novel in diction, craft and aesthetic. Language takes centre stage not only as a means of communication but of construction of artistic artifacts. The collection consists of over fifty poems with divergent thematic thrusts. The poems were not classed into thematic categories but left for the reader to find semantics from the corpus of meaty cornucopia. The language used in the composition is the Nigerian Pidgin Language which the poet prefers to refer to as Naija Langwej. Although, Oribhabor is not the first Nigerian poet to use Pidgin Language in poetic composition, the poet, a grammarian of the Naija Langwej wants to use a stone to kill two birds: To show how Pidgin could be used as an independent linguistic mode and to validate the notion that apart from standard British English, Pidgin Language could be used in the manufacturing of beautiful literary artifacts.<\/p>\n<p>The first poem in the collection, \u201cAbuja Na Hevun, na Kpangba,\u201d eulogizes the splendor and tranquility of the Federal Capital Territory. \u201cAbuja koret\/na ples we get\/bam bam haus\/beta beta rod\/we kari plan\u201d (1). The poet persona observes that social amenities are functional in Abuja: \u201cNEPA de wok\u201d and there is abundance of money, \u201ckudi de fo graund\u201d (2). It is obvious that the poet lives in Abuja, \u201cAbuja na di ples\/na di veri ples\/I de kamkpe no bi lai\u201d (3) Across ten stanzas, the poet captures the divergent faces of Abuja and concludes that \u201cAbuja na kpangba\u201d (4). The poet juxtaposes the portrait of Abuja with that of Lagos, in \u201cOl Join,\u201d and declares that the latter is dirty and unkempt. The poem is a photographic shot of major Nigerian cities and the nature of their plights. The poet observes that Lagos is fine architecturally, but \u201cyeye de smel\/yama-yama de du im oun.\u201d (20)The poet is saying that Lagos is dirty and filthy albeit the government is trying to remedy the situation.<\/p>\n<p>The poet was kind enough to provide interpretation of some words and phrases which could pose a threat to a non-Nigerian reader or even a Nigerian who is not conversant with the Pidgin system. In the poem \u201cNa fo haus yu swim?\u201d\u00a0 The poet reminisces upon the past and how he and his age mates play freely in the wild and even \u201cswim for damba-damba\u201d (11). In the footnote, the poet explains \u201cdamba-damba\u201d as \u201cstagnant pool of rain water collected in dugout sand pits.\u201d As a child, he played in the sand, and even \u201cdu as wi laik,\u201d and \u201c\u2026baf autsaid.\u201d But in the contemporary world, children\u2019s liberty is curtailed and they are cordon off in fenced houses in towns and cities; even if they are not cordon off, they are not allowed to play freely, \u201cdamba-damba de dash okrikpoto\/ojuju de kach\/dem most swim fo haus.\u201d (i2). <em>Okrikpoto <\/em>is explained in the footnote as \u201cringworm\u201d and \u201cojuju\u201d as \u201cmasquerade.\u201d\u00a0 We see similarity of theme in the poem \u201c<em>Wich neshon yu bi?.\u201d<\/em> The poet reminisces upon the days he was growing up with his disciplinarian of a father. The father of the poet handles the children with iron hands. Although it is not that he exhibits tyrannous disposition towards them, it is evident that the father lives on the injunction \u201cspare the rod and spoil the child.\u201d The father beats them when they erred, corrects them verbally when they go astray and taught them many things. Since most of his children are boys,\u201d I gada os laik gels\u201d (17) and handles them properly.<\/p>\n<p>The collection is an amalgam of poems on diverse themes. Thus, in the poem \u201cLaif na jangalova,\u201d the poet reflects on the essence of human life on earth and concludes that life is like a swing. It is unstable, and could be sweet or bitter sometimes: <em>\u201claif na shuga\/na bita laif\/ol join.\u201d<\/em> (18) This swinging pattern of life is explored in the poem <em>\u201cGi mi yestade<\/em>.\u201d The poet reflects on life in the 70s, 80s and 90s before things begin to fall apart. The poet noticed that, <em>\u201cpepe no de laik befo<\/em>.\u201d (25) <em>\u2018pepe\u2019<\/em> here refers to money. In those days after graduation, \u201c<em>dem giv mi wok\/dem folo am wit fo leg.\u201d<\/em> After graduation, you would be given a job, \u201cwok\u201d and attached with a car <em>\u201cfo leg.\u201d<\/em> But today, the reverse is the case: <em>\u201cbifo bifo na laif\/laif de du revais.\u201d<\/em> In <em>\u201cTumoro go kom,\u201d<\/em> on the other hand, the poet admonishes that no man knows the shape of tomorrow so we should use what we have today to build our tomorrow: <em>\u201cgada tode\/si tumoro\/I don land fo yo hand.\u201d<\/em> (34)<\/p>\n<p>The poem \u201c<em>Wich Landa Broda,\u201d<\/em> challenges the claim that Europeans discovered Africa or other historical sites in Africa. The Lander Brothers claimed that they discovered the mouth of River Niger. The poet questions such claims by asserting that Niger has been with Nigerians for ages before the arrival of the Lander Brothers, so how could they lay claim to the discovery of what was not lost. It was Nigerians who took them to the mouth of the River. We see a different preoccupation in the poem, <em>\u201cHoma de hama.\u201d<\/em> The poem captures social stratification. The poet persona laments that he and his age mates were friends, <em>\u201cwe sabi bifo bifo,\u201d<\/em> before some of them became wealthy, <em>\u201cwen tins no blend.\u201d<\/em> (30) However, as some of them succeeded in their enterprises and bought Hummer jeeps, <em>\u201cbrij kom enta mata\u201d<\/em> division arises, <em>\u201clevul don chenj langwej.\u201d<\/em> Wealth, therefore, ultimately leads to social stratification.\u00a0 There is a note of consolation in the poem <em>\u201cEvribodi get im tie.\u201d<\/em> Every man has his own cross to carry and his own time of glory.\u00a0 The poet encourages everyone to focus on his own business and eschew laziness, <em>\u201csidon luk na dog nem\u201d<\/em> (32) so, <em>\u201claif na ogbonge tie\/evribodi get im tie\/tie yo oun.\u201d<\/em><\/p>\n<p>The quest for materialism has broken so many homes in contemporary Nigeria. Nigerians flock to the West in search of greener pastures which often breaks up the home and affect adversely the sanctity of the family. The poem narrates the story of a family whose members have all travelled abroad leaving the father alone in Nigeria. The family is in disarray, \u201c<em>Mama don travul\/papa don trai taya\/I stil de\u201d<\/em> (35). The husband and wife fall apart and the marriage crumbled: \u201c<em>broda don los\/anti no mari\/papa and mama don tie pepa.\u201d<\/em><\/p>\n<!-- WP QUADS Content Ad Plugin v. 1.7.8 -->\n<div class=\"quads-location quads-ad2\" id=\"quads-ad2\" style=\"float:none;margin:0px;\">\n<script async src=\"\/\/pagead2.googlesyndication.com\/pagead\/js\/adsbygoogle.js\"><\/script>\r\n<script>\r\n  (adsbygoogle = window.adsbygoogle || []).push({\r\n    google_ad_client: \"ca-pub-5983616716487778\",\r\n    enable_page_level_ads: true\r\n  });\r\n<\/script>\n<\/div>\n\n<p>Nigerians have been deprived of so many basic social amenities which include electricity. In the poem, <em>\u201cMai paspot,\u201d<\/em> electricity is seen as the passport one needs to crossover from the class of the deprived to that of the haves. However, the poet is of the opinion that, <em>\u201cNEPA ful fo op\/I de go op an daun\/bot im leg no toch daun\u201d <\/em>(51) that is the upper class have light while the other part <em>\u201cdaun\u201d<\/em> don\u2019t have. The poet observes that it has been long that Nigerians are being deceived about the <em>\u201cmegawaz<\/em>,\u201d however, since there is no hope of stable power supply from the government, it becomes imperative for the poet to procure his own power generating system so as to climb up the social ladder. Electricity thus becomes a source of prestige. The last poem in the collection, \u201c<em>Naija Joni,\u201d<\/em> captures the plight of Nigerian road users. The roads are broken and more of death-traps. Therefore, since the roads are in bad shape, the journey is lengthened. The poet says, <em>\u201cmai bele don si nwen,\u201d<\/em> (56) This expresses the tumult in the poet\u2019s stomach as the vehicle plunges in and out of gallops and potholes. He feels dizzy and dazed: <em>\u201cmai hed don de kolo<\/em>\u201d and above all, we see a picture of the car struggling to maneuver through the broken road in this line, <em>\u201cwi de drag wit rod.\u201d<\/em> At last, the poet reaches his destination.<\/p>\n<p>The language used constitutes an aspect of aesthetics. The poet relies on local imageries, and idiophonic troupes to pass across his message. Many instances abound but we shall consider few of them. In <em>\u201cHoma de hama,\u201d<\/em> the use of repetition and rhyme makes the poem to be musical. In the first stanza, we have<\/p>\n<p>A waka mai oun<br \/>\nYu waka yo oun<br \/>\nDu yo oun<br \/>\nA do mai oun (30)<\/p>\n<p>We see the repetition of <em>\u201coun\u201d<\/em> which is at the end of each line. In the second stanza, <em>\u201cblend,\u201d<\/em> and <em>\u201cbifo\u201d<\/em> are used at the end of the lines, and in the third stanza we have <em>\u201cmata\u201d<\/em> rhyming to create musicality.<\/p>\n<p>The poet makes use of repetition, assonance and pun a lot. The word <em>\u201ctie<\/em>\u201d is played with in the following lines: \u201c<em>laif na ogbonge tie\/evribodi get im tie\/tie yo oun.\u201d<\/em> (32) The first and second <em>\u201ctie\u201d<\/em> is noun while the last one is a verb denoting an action. The poet plays with the word, <em>\u201cmoi-moi\u201d<\/em> in the poem, <em>\u201cLaif no bi panyan.\u201d \u201cMoi-moi na fo chop\/laif no bi moi-moi.\u201d<\/em> (33)<\/p>\n<p>The poem, <em>\u201cWetin dem no du,\u201d<\/em> the poet makes use of rhyming couplets. Words like <em>\u201csabi, du, trai,\u201d<\/em> rhyme in the first, second and third stanzas. Likewise the use of rhyme is employed in the poem, <em>\u201cIf i get as i bi.\u201d<\/em> The poet plays with <em>\u201chun\u201d<\/em> in the lines, <em>\u201cIf mata kom hun hun hun\/ iye go opun fo graund\/hun hun hun go hun.\u201d <\/em>(38)<\/p>\n<p>In \u201c<em>Ikoro plenti,\u201d<\/em> the poet makes use of metaphor in the lines: <em>\u201conli fo nait\/dia hat na ston\/dem bon<\/em> AIDS.\u201d (8) While we see personification in <em>\u201cde trowe tumoro<\/em>.\u201d In \u201c<em>Mek somtin no du yu<\/em>,\u201d the poet makes use of different troupes to drive home his message. In the lines, <em>\u201csom taim mai hed\/go de ron raund laik se\/dem giv am dog injeshon,\u201d<\/em> the poet uses two distinct figures, synecdoche and simile. While we see repetition in <em>\u201cI go go ye, go die\/go yonda, go dis we.\u201d<\/em> However, the poet uses assonance in the line, <em>\u201csom taim mai maind<\/em>\u2026,\u201d while he uses simile in <em>\u201chevun wan fol laik se no bi pat of mi.\u201d<\/em> In the poem \u201c<em>A get sista,\u201d<\/em> the poet uses alliteration in the line, <em>\u201cNo bi boi bi di tin,\u201d<\/em> (12)<\/p>\n<p>Many instances abound. The use of idiophones gives the poems local scent. Repetition of words abound and this makes the poem to be like spoken word poems. A deeper study of the aesthetic components of the poetry collection will suffice so as to bring to the fore the beauty and essence of the poems.<\/p>\n<p>The poet, Eriata Oribhabor has constructed poems using the Naija Langwej which is novel in the history of Nigerian poetry. In his works, Nigerian Pidgin ceases from being the language of the subaltern class, or of embellishment to create local flavor as language of art. The language which has been debased by many Nigerian writers has been given a place of prominence in Oribhabor. What he has done should be appreciated by all and sundry especially those promoting Pidgin Language. Poets and writers should be bold enough to make use of Naija Langwej in their works so as to publicize our own brand of English. In his quest to produce poems in the so-called Naija Langwej, he went to the extent of writing some poems that are shallow, devoid of elegance, sublimity and ambiguity.\u00a0 Language is not the ultimate in poetic composition but elegance of diction, depth of thought and freshness of language which jolt the reader to awake to new reality. In this light, poems like <em>\u201cMai Buk,\u201d \u201cLife no bi panyan,\u201d \u201cKonzotant vesos profeso,\u201d \u201cBeta pas gud,\u201d \u201cWi de wok,\u201d \u201cGi mi kpekere,\u201d \u201cSomtin de,\u201d <\/em>are not elegant and sublime and lack semanticity to a large extent. They resemble the lyrics of Terry G. It is pertinent for the poet to harmonize form and content. Giving impetus to content alone will breed poems that are substandard and intellectually shallow.<\/p>\n<p>Above all, the Naija Langwej is not different to a large extent from the Nigerian Pidgin. In Nigerian Pidgin, English words are stripped of their English semanticity and phonological domains. However, what we see in some of the words used by the poet is but corruption of the spelling system of English. The proposed language depends on English language for survival. Ninety percent of the words have their roots in English and thus, an English native speaker could read some of the poems and decode their meaning. However, it is imperative for more words from Nigerian languages to be adopted into the corpus of the Langwej system and publicize so as to give the language credibility and national outlook.<\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"https:\/\/i1.wp.com\/www.poetsinnigeria.org.ng\/wp-content\/uploads\/2016\/01\/Victor.jpg\"><img data-attachment-id=\"910\" data-permalink=\"https:\/\/www.poetsinnigeria.org.ng\/index.php\/language-and-aesthetics-in-eriata-oribhabors-abuja-na-kpangba-an-oda-puem-dem-ifra-oribhabor-2011-a-review-by-akwu-sunday-victor\/victor\/\" data-orig-file=\"https:\/\/i1.wp.com\/www.poetsinnigeria.org.ng\/wp-content\/uploads\/2016\/01\/Victor.jpg?fit=1536%2C2048&amp;ssl=1\" data-orig-size=\"1536,2048\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"AKWU, Sunday Victor\" data-image-description=\"\" data-medium-file=\"https:\/\/i1.wp.com\/www.poetsinnigeria.org.ng\/wp-content\/uploads\/2016\/01\/Victor.jpg?fit=225%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i1.wp.com\/www.poetsinnigeria.org.ng\/wp-content\/uploads\/2016\/01\/Victor.jpg?fit=768%2C1024&amp;ssl=1\" loading=\"lazy\" class=\"size-medium wp-image-910 alignleft\" src=\"https:\/\/i1.wp.com\/www.poetsinnigeria.org.ng\/wp-content\/uploads\/2016\/01\/Victor.jpg?resize=225%2C300\" alt=\"AKWU, Sunday Victor\" width=\"225\" height=\"300\" srcset=\"https:\/\/i1.wp.com\/www.poetsinnigeria.org.ng\/wp-content\/uploads\/2016\/01\/Victor.jpg?resize=225%2C300&amp;ssl=1 225w, https:\/\/i1.wp.com\/www.poetsinnigeria.org.ng\/wp-content\/uploads\/2016\/01\/Victor.jpg?resize=768%2C1024&amp;ssl=1 768w, https:\/\/i1.wp.com\/www.poetsinnigeria.org.ng\/wp-content\/uploads\/2016\/01\/Victor.jpg?w=1536&amp;ssl=1 1536w\" sizes=\"(max-width: 225px) 100vw, 225px\" data-recalc-dims=\"1\" \/><\/a>AKWU, Sunday Victor, holds a degree in English &amp; Literary Studies from Kogi State University, Anyigba. He is a poet and critic with a Marxist touch.<\/p>\n<p>&nbsp;<\/p>\n\n<!-- WP QUADS Content Ad Plugin v. 1.7.8 -->\n<div class=\"quads-location quads-ad3\" id=\"quads-ad3\" style=\"float:none;margin:0px;\">\n<script async src=\"\/\/pagead2.googlesyndication.com\/pagead\/js\/adsbygoogle.js\"><\/script>\r\n<script>\r\n  (adsbygoogle = window.adsbygoogle || []).push({\r\n    google_ad_client: \"ca-pub-5983616716487778\",\r\n    enable_page_level_ads: true\r\n  });\r\n<\/script>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"<p>Language plays vital role in artistic composition. Oribhabor\u2019s collection of poems is novel in diction, craft and aesthetic. Language takes centre stage not only as&hellip; <\/p>\n","protected":false},"author":2,"featured_media":911,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[31],"tags":[58,60,61,40,59],"jetpack-related-posts":[{"id":1224,"url":"https:\/\/www.poetsinnigeria.org.ng\/index.php\/lingua-franca-from-nigerian-pidgin-to-naija-languej-by-eriata-oribhabor\/","url_meta":{"origin":908,"position":0},"title":"\u201cLingua Franca: From Nigerian Pidgin to Naija Languej\u201d by Eriata Oribhabor","date":"June 8, 2016","format":false,"excerpt":"\u00a0 Nigerian pidgin is the most popular form of communication in use in Nigeria by Nigerians irrespective of tribal or religious affiliation. By reason of long stay in the country or sheer determination to learn it for ease of communication with Nigerians for business and pleasure, non-Nigerians either speak. Its\u2026","rel":"nofollow","context":"In \"General\"","img":{"src":"","width":0,"height":0},"classes":[]},{"id":3387,"url":"https:\/\/www.poetsinnigeria.org.ng\/index.php\/pin-president-eriata-oribhabor-to-unveil-three-poetry-books-in-lagos\/","url_meta":{"origin":908,"position":1},"title":"PIN President, Eriata Oribhabor to unveil three poetry books in Lagos","date":"July 21, 2019","format":false,"excerpt":"Prolific poet and President, Poets in Nigeria (PIN), Sir Eriata Oribhabor has collaborated with Tempt \u2018n\u2019 Crave, to plan a book unveiling event scheduled for Wednesday 31st July, 2019 at Virgin Rose Resorts, Victoria Island, Lagos. Oribhabor, a foremost poetry promoter, who is fondly addressed as \u201cThe Merchant of Poetry\u201d\u2026","rel":"nofollow","context":"In \"Activities\"","img":{"src":"","width":0,"height":0},"classes":[]},{"id":1752,"url":"https:\/\/www.poetsinnigeria.org.ng\/index.php\/creative-words-on-marble-issue-6\/","url_meta":{"origin":908,"position":2},"title":"CREATIVE WORDS ON MARBLE (ISSUE 6)","date":"January 21, 2017","format":false,"excerpt":"CREATIVE WORDS ON MARBLE (ISSUE 6) SANDCASTLE by\u00a0Hardeep Sabharwal \u00a0 Hardeep Sabharwal, born and raised in\u00a0India, completed his M.A. from Punjabi University Patiala in English. His work has been published in various online and print magazines including The Larcenist, Zaira journal, The Writers Drawer, Quail Bells,\u00a0 Literary Yard, NY Literary\u2026","rel":"nofollow","context":"In \"Words on Creative Marble\"","img":{"src":"","width":0,"height":0},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.poetsinnigeria.org.ng\/index.php\/wp-json\/wp\/v2\/posts\/908"}],"collection":[{"href":"https:\/\/www.poetsinnigeria.org.ng\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.poetsinnigeria.org.ng\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.poetsinnigeria.org.ng\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.poetsinnigeria.org.ng\/index.php\/wp-json\/wp\/v2\/comments?post=908"}],"version-history":[{"count":3,"href":"https:\/\/www.poetsinnigeria.org.ng\/index.php\/wp-json\/wp\/v2\/posts\/908\/revisions"}],"predecessor-version":[{"id":914,"href":"https:\/\/www.poetsinnigeria.org.ng\/index.php\/wp-json\/wp\/v2\/posts\/908\/revisions\/914"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.poetsinnigeria.org.ng\/index.php\/wp-json\/wp\/v2\/media\/911"}],"wp:attachment":[{"href":"https:\/\/www.poetsinnigeria.org.ng\/index.php\/wp-json\/wp\/v2\/media?parent=908"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.poetsinnigeria.org.ng\/index.php\/wp-json\/wp\/v2\/categories?post=908"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.poetsinnigeria.org.ng\/index.php\/wp-json\/wp\/v2\/tags?post=908"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}