IDEAVBOR BELLO

This study delves into Festus Okwekwe’s poetry collections, Our Mother Is Not a Woman and Second Class Breeds, which serve as a powerful critiques of the patriarchal worldview prevalent within Igbo society and across Nigeria. These works expose the multifaceted nature of gender inequality, highlighting the subjugation of women, the rigid enforcement of traditional gender roles, and the resulting imbalances of power. Through a combination of stark realism and evocative imagery, Okwekwe’s poems depict the consequences of patriarchal dominance, focusing on women's experiences of marginalization, exploitation, and violence. The collections challenge the notion of women as mere objects or possessions, disrupting the prevailing narratives that define women solely through their reproductive capacity and domestic roles. The collections employ a range of poetic techniques, including metaphor, symbolism, and narrative voice, to deconstruct oppressive structures and expose their inherent contradictions. Okwekwe’s poetry doesn't merely represent the struggles of women; it actively engages with the sources of their oppression, offering a platform for resistance and the envisioning of more equitable gender relations.

This study critically examines the poetic works of Niyi Osundare in "The Word is an Egg" and Okinba Launko in "Dream-Seeker on Divining Chain", with a focus on their visions of freedom and justice. Grounded in Marxist theory, the research situates both poets within the socio-political contexts of oppression, inequality, and historical exploitation in African societies, highlighting how poetry functions as a tool for social critique and consciousness-raising. Osundare’s work demonstrates a deliberate engagement with language as a weapon of resistance; his metaphors of the Word as fragile yet transformative, and the careful structuring of imagery and irony, reveal the mechanisms through which language challenges authoritarian power and exposes systemic injustice. Similarly, Launko’s poetry combines lyrical introspection with socio-political observation, mapping the intersections of memory, collective suffering, and hope. Through his vivid portrayals of historical violence, social decay, and the persistence of human aspiration, Launko articulates a vision of a just society where freedom is both a natural right and a moral imperative. The research foregrounds the poetic techniques employed by both writers, including metaphor, symbolism, and tonal variation, as instruments that dramatize oppression and highlight possibilities of emancipation. Close textual analysis of selected poems, including The Word is an Egg, Trapped Words, Ode to Anger, and Launko’s Freedom Song, Petals, and A Forming Fear, demonstrates how the poets’ works articulate visions of social transformation, collective memory, and moral accountability. By situating these texts within a Marxist framework, the study underscores the socio-economic and political critiques embedded in the poetry, revealing the tension between the oppressed and the structures that sustain their marginalization. Ultimately, this research presents Osundare and Launko not merely as literary figures but as cultural commentators and activists, whose poetry embodies both a critique of exploitation and a constructive vision for liberation. Their works illuminate the dynamics of power, resistance, and human aspiration, offering profound insights into the role of African poetry as a medium for social awareness, historical reflection, and the pursuit of justice.