Gabriel Okara’s The Fisherman’s Invocation is not merely a collection of poems; it is a haunting voyage into the turbulent waters of memory, colonial disillusionment, and the spiritual ache of a people searching for balance between the ancestral and the modern.
Zahra’s literary journey began early. Her debut collection, The Dance of Dawn (2018), published when she was just seventeen, went on to be adopted as a set text at the University of Abuja and other institutions. With Girls and the Silhouette of Form, she not only expanded her poetic voice but also made history as the first female poet published by Masobe Books, the vibrant publishing house founded by Othuke Omniabohs.
In a lot of ways, ending a year is like ending a poem. Like a poet approaches a finished poem in scrutiny, going over and reading it again, sometimes reading it out loud to hear the rhythm and make sure it flows smoothly, so too do we go over the events of an ending year. But unlike a poem, we cannot remove the words or the lines we feel are obstructing the flow of a year spent. There is no going back to remove a word or insert a new one. There is no changing the events of any moment. There is no altering the flow. There are only the what-ifs.
