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Joe’s Collectanea by the renowned author Joshua Omeke is an anthology of poems. The pattern of writing expounds interwoven addiction between personal experiences, imaginations, and use of language. Composed of thirty-one poems, the author proposed numerous topics. At an attempt to overview the societal norms, Joshua incorporates reality and figures of speech in a standard practice in several of the poems such as “Anarchiste Diplomatique,” “Ramshackle Emote,” and “Emotions and Idioms” that were a stanza based. Evaluating the critical expectations of his reader, the author also teases through widely accepted experiences that a third of every reader can relate to either personally or by widely heard occurrences in “A Coloured Dream” which evaluates the typical expectations of youths of now from the african community fleeing to western grounds for greener pastures. Because of the sudden drift in storytelling in this masterpiece (Joe’s Collectanea), it is encouraged that every reader evaluate the table of contents before dissecting into the context of Joe’s Collectanea to properly digest according to their present momentum. Further more, Joshua evaluates the symmetrical mechanism that is accustomed to the taxonomy of homo sapiens in the narrative sestina “Life” which provokes its reader through intimidation to think sharply. Another work distinct from the norm is the ode “portrait of her lifestyle” that revamped the respect a typical feminist commands. In addition, works such as “Undies Evolution,” “Problem,” “The Jinn of sahara,” “Tommy, my watch,” and “The Stupor” individually tells a story which sets them as the solid narrative approach the writer confirms his work to be regardless of the poetic theme involved in the spatial formulation. However, each poem were finely drafted, and only exception is the inability for any theatre to convert these words of excellence to a play as it does not reflect a single story nor proposes characters and scenes. Hence, the anthology is a paper mache of ponderous adventures, delving into uncertainty that spooks measure which weighs the mind of each reader as the pages are flipped, and stories are assimilated. Such as “My Body, My Mind” that brings about faith speaking for those who are religious and I enjoy the writer was flexible enough to not associate the poem with a particular religion, rather Joshua was able to tell the story as it is being a believer and philosophers widely accept that every religion believes in God. I confirm the author is a radical, because the previous poem evaluated personal experiences and societal approach in the work “A Friend of Mine” which touches the cores of diversity—switching from talking about diversity into faith, followed by “Ramshackle emote” an exposition of distinct emotions in one topic, ooze’s discombobulations of how far and fast the mind can travel whilst multitasking in thoughts and ideas. Acts like this are encouraged in the literal hemisphere as it outweighs having a particular concept one is known for, which shall soon make their works unintelligible and classed as universal. Compared to Joshua’s style in drafting literature as a work of art, and in an attempt to photograph his abilities as visual art, he would fly as a Basquiat because of his unpredictability. The Collectanea discusses pronounced controversial topics such as Love in the work “Romance in Poetry,” “Long lost love.” Another concern is Labourers affairs in “Danilo the farmboy”, Religion in “A Surrendered Man,” Philosophy with “Composure,” “Flies of wilderness” and “Epiphany of life”, Global Warming with “Roots are before the log pt 2”, COVID-19 with “The Plague in our waves”, travel writing by depicting “Joe’s Collectanea from Ghana side.” There are other works that can be versed as a must read when flipping pages before settling to read all these are “Ache of waters” centered at evaluating struggles and being accustomed to them. In other references the writer tells a story of colonialism in Africa and its neo-colonial practices that stenches the effort of its settlers in the poem “Anarchiste Diplomatique”. With a mild interjection “Grass of our time” centers on cravings by collectors of nicotiana and how they are so attached to the strands regardless of the health risk associated with their perpetual practices. The few titles reviewed in this article are not conjunctional to the table of content, they appeared according to my preference in reviewing Joe’s Collectanea. The author, Joshua Omeke, has shown talent in literature and displayed years of expertise. If permitted, I will propose he continuously releases much more of his archives. Joshua Omeke is a youth of mystical fingers that composes works of poetry as Igor Stravinsky since he has composed masterpieces in almost every topic he had written. He hails from Edo, Nigeria but was a Lagos born individual. And confirms he has been writing for many years, though literal bytes are slightly penetrating the international scenes but remain a gem to the Nigerian hemisphere. He has technical skills in coding, and confirms writing is a passion and will continue to do so even in his old age. Aside writing, he is also a paint artist who draws inspiration from cubism and surrealism.
Joe’s Collectanea documents the flexibility in the authors attempt to tell unique stories and narrate real experiences through poems. Each poem derives its meaning from the writer’s understanding of how to juxtapose words for the said purpose of writing. All poems included in this collectanea are regarded as a narrative approach in drafting poems. Take for instance “A friend of mine” which tells the story of a timid coloured boy. Who had decided to confront his lover and best friend through a poem rather than engaging in a dialogue. Approaches of this sort phases out traditional methods involved in poem writing and every reader is encouraged to observe the transition in these works. It reflects a raw talent in literal creativity to enhance the reader’s knowledge, amuse their minds and revamp their mood with poetic amusement.
This book is a collection of shorter books and other writings by the same author. Using a literary term, the book may be called a collectanea, or, using a common term, simply a potpouri of writings. The subjects of the writings are varied and mixed. The reader will find mysteries and unsolved homicides in High Stakes, the story about the dark side of professional gambling. The reader can read in The Money Changers about greed, cheating and fraud in the market place, including some of the sophisticated methods now used by predators to cheat others. The author has included in these stories a mix of satire and humor about some current social and political issues. Various sins are necessarily part of the subject matter of these stories. Sex is not a significant ingredient in the story mix, although it might have flavored or spiced up the other ingredients in the recipe. The author has also included in this collection and shares with readers items of a personal nature, including letters written to his children while they were at school away from home and parables written primarily for children.
As you flip through these pages, you’ll find your ideas about the various factors that drive your life beginning to reassemble. The collection of poems in this book defies classification into a single genre, offering instead a diverse array that lets you sample every platter of poetry known to man. In today’s world, works of art are often undervalued. However, this collection aims to break that norm. It is an accumulation of pieces written over different years and in various situations, yet carefully tailored to encapsulate the thoughts of a man in the form of drafted words. I hope you enjoy the scenes and embark on a journey through these verses. Though you remain behind the curtains, you have a view of the entire stage presented in this book. Open your imagination and let yourself be filled with my hymns.
Reprint of the original, first published in 1838.
Joe's Collectanea documents the flexibility in the authors attempt to tell unique stories and narrate real experiences through poems. Each poem derives its meaning from the writer's understanding of how to juxtapose words for the said purpose of writing. All poems included in this collectanea are regarded as a narrative approach in drafting poems. Take for instance "A friend of mine" which tells the story of a timid coloured boy. Who had decided to confront his lover and best friend through a poem rather than engaging in a dialogue. Approaches of this sort phases out traditional methods involved in poem writing and every reader is encouraged to observe the transition in these works. It reflects a raw talent in literal creativity to enhance the reader's knowledge, amuse their minds and revamp their mood with poetic amusement. ABOUT THE AUTHOR Joshua Omeke is a mercurial writer, and sublime poet born in Lagos, Nigeria. He is a forcible voice against the wiles of neo-colonial entanglements. And has had his works published on several papers like News Telegraph, Poetry.com, The Ghana review and and he had been a guest at the Blackish International literary festival in 2022. And been featured on a number of literal magazines as a rising star in the black community and is a member of the Royal African Society uk. As well as the Poetry society UK.
Bloody Tyrants and Little Pickles traces the theatrical repertoire of a small group of white Anglo-American actresses as they reshaped the meanings of girlhood in Britain, North America, and the British West Indies during the first half of the nineteenth century. It is a study of the possibilities and the problems girl performers presented as they adopted the manners and clothing of boys, entered spaces intended for adults, and assumed characters written for men. It asks why masculine roles like Young Norval, Richard III, Little Pickle, and Shylock came to seem “normal” and “natural” for young white girls to play, and it considers how playwrights, managers, critics, and audiences sought to contain or fix the at-times dangerous plasticity they exhibited both on and off the stage. Schweitzer analyzes the formation of a distinct repertoire for girls in the first half of the nineteenth century, which delighted in precocity and playfulness and offered up a model of girlhood that was similarly joyful and fluid. This evolving repertoire reflected shifting perspectives on girls’ place within Anglo-American society, including where and how they should behave, and which girls had the right to appear at all.