EAST-AFRICAN POETRY

A poem from East Africa is a collection of poems compiled by David Cook and David Rubadiri.

This comprehensive anthology captures the spirit of the poetic flowering of the 1960’s when

most African nations gained their independence. With independence, liberation and increased

literary flourished. The collection gives voice to some fifty poets from Kenya, Uganda and

Zambia writing English. The diversity of the interests in styles of the individual poets is

illustrated; a blend of the gentle Lyricism that is a feature of East African writing. All the major

poets are included and many not so well known. Amongst the best known are Jared Angira,

Jonathan Kariara, Okot p’Bitek, Taban Lo Liyong, Joseph Kaiuki and David Rubadiri, one of the

editors of this collection. This anthology contextualizes the historical, political, economic and

social-cultural dynamics that shaped poetry and what cultural events of a society that shape its

literature. In this essay ``Homecoming’’ (1972), Kenyan writer Ngugi wa Thiong’o makes this

stance very clear when he says:

``Literature does not grow or develop in a vacuum. It is given impetus, shape, direction

and an even area of concern by social, political and economic forces in a particular society. East

African authors writing in this period raised questions about colonialism, resistance by Africans,

negritude, tradition and modernity, love, socialism and capitalism, indigenous and foreign and

other social problems such as corruption, conflict and exploitation among others. Many of the

poets in this collection witnessed or suffered greatly and were compelled to cast aside their

artistic vocations in order to be involved in the liberation struggles of their people. Moreover,

most works in this anthology is protest in nature. It comes as a reaction to various colonial

masters and later, post colonial masters.

OVERVIEW.

David Cook (1929-30 March 2003) was a British academic, literary critic and anthologist (Wikipedia). As a Professor of Literature at the University of Makerere and Ilorin he played an important role in encouraging literature in East Africa. He was educated at Birkbeck College, London graduating from the University of London in 1954 with a first-class degree in English Literature and completing a MA in 1956. He taught for five years in the University of Southhampton before moving permanently to Makerere in 1962 where he became Head of the department of Literature in 1967. He has published major editions of seventeenth century plays, and a volume on the background to Elizabeth/Jacobean drama, as well as numerous articles in particular on drama and Education. He edited the first volume of East African prose, and co-edited `Poems from East Africa with David Rubadiri.’’

James David Rubadiri (born in 19th July1930 in Liuli) is a Malawian diplomat, academic and poet, playwright and novelist. Rubadiri is ranked one of the Africans’ most widely anthologized and celebrated poets to emerge after independence. Rubadiri attended King’s College, Budo in Uganda from 1941- 1950 then Makerere University in Kampala from 1952-1956 where he graduated with a Bachelor degree in English Literature at King’s College, Cambridge. He went on to receive a Diploma in Education from Bristol University, England.

Rubadiri’s poetry has been praised as being among ``the richest of contemporary Africa’’. His work was published in the 1963 anthology, Modern Poetry of Africa (East Africa Publishers, 1966) and appeared in international Publication including transition, Black Orphans and presence Africaine. His only novel, No Bride Price (published in 1967. It criticized the Banda regime and that it guided Malawi toward its independence. Amongst the major poems that we handled are the crucified thief by Mbiti, Building the nation by Henry Barlow, Sleepless in Angola by Joseph Kariuki, The troubled warrior by Alexander Muigai, They sowed and watered and Return the bride wealth by Okot p’Bitek, Maji Maji and brewing night by Yussuf O. Kassam, grass will grow by Jonathan Kariara, unlucky lover by Magemenso Namugalu and village well by Henry Barlow.

Our analysis will engage the following critics;

1. Season of Harvest, Chris Wanjala2. A study of Okot p,Bitek’s Poetry by Prof. Monica Mweseli3. Writers in Politics, Ngugi Wa Thiong’o4. Understanding African Poetry by Godwin Ken5. Artist the Ruler by Okot p’Bitek.

Our analysis will explore various styles used widely in this collection. First we will look at the meaning of each style and then give a comprehensive cover later in our analysis and how they

have been used to communicate the message easier to understand. Some of the common forms of style used in this anthology include irony, satire, repetition, symbolism, personification, hyperbole, imagery, sarcasm, biblical allusion among others.

Irony in its broadest sense is a rhetorical device, literary technique or event characterized of an incongruity or contrast, between what the expectations of a situation are and what is really the case with a third element, that defines that what is really the case is ironic because of the situation that led to it. (Source; Wikipedia). For instance, in the poem, ``Building the Nation’’ by Henry Barlow, the PS claims to attend to highly delicate matters to do with nation building but in the real sense he exploits the government resources by dining in expensive luncheons. He also pretends that he has not eaten.

Ezekiel Alembi in his book, ``Understanding Poetry’’ defines repetitions where words and lines are repeated to stress certain important features of the poem and to give a musical lilt or lyrical rhythm. In the poem ``I speak for the bush’’ by Jonathan Kariara, the poet employs repetition of ``I speak for the bush’’ to achieve sarcasm. Also, in the poem ``Building the Nation’’ by Barlow, repetition is achieved by the poet through repeating ``I drove a permanent secretary’’. This device has been used to create irony.

Also, Alembi, in his book, `Understanding Poetry’’, he refers symbolism as using the name of one thing to represent another. Sometimes a poet may not want to be direct, so he will use a word which can be interpreted in more than one way. For instance, in the poem ``The Guilt of Giving’’ by Laban Erapu, the poet uses the phrase ``heap of rags’’ and ``louse’’ to refer to beggars who usually live in slums hoping to be helped. Again, in the poem ``A leopard lives in Muu tree’' by Jonathan Kariara, the poet uses the word `leopard to refer to an elder brother. In addition to this, the poet uses the phrase ``the yolk of the moon’’ to symbolize madness in the poem, ``For Grass will Grow’’ by Jonathan Kariara.

Wikipedia gives a clear definition of personification as a style of attribution of human nature or character to animals, inanimate objects, or abstract notions, especially as a rhetorical figure. This device has been used in the poem, ``I met a Thief’’ by Bukenya. The poet uses this device effectively. The coconut towers are said to be `idle’ and `whispering’. Usually, only people are described as idle and whispering, but in this poem, coconut towers get these human attributes. This is a creative way of describing a light breeze passing through the coconut trees and making them to produce a sound like a human whisper.

Biblical allusion is a figure of speech a figure of speech passes references from the bible according to advanced English dictionary. This device has been used in the poem, ``the crucified thief’’ by Mbiti. The poet quotes from the bible, Mathew 27:1-66, to bring out the issue of salvation where Christ was with the thief in paradise.

Metaphors are figures of speech in which an expression is used to refer to something that it does not literally denote in order to suggest a similarity according to Advanced English Dictionary. For instance, in the poem, `Return the Bride Wealth’ by Okot p’Bitek, the love of the man for the woman is compared to the fresh milk in rubindi. The man goes ahead to even compare the woman to the papyrus reeds. The man’s love for the woman is also compared to butter. This shows the pure love of the man towards the woman.

Hyperbole, according to Oxford Dictionary, is the deliberate exaggeration, used to achieve a certain effect. Poets use hyperbole to impress the reader and influence his judgment. For instance, in the poem, `No coffin No grave’ by Jared Angira, the diary of the politician is compared to the submarine of the third world war, something use, extraordinary. Also, in the poem, `I met a thief’ by Bukenya, the persona shares quite pleasurable moments with his lover, though through hyperbole. Bukenya tries to bring out the perfection and beauty of the `thief’. He describes her hair to be like the wool of a mountain sheep. Her eyes were like a pair of brown beans floating in milk. He even describes her voice to fresh banana juice.

By quoting from the book ``Understanding Poetry’’ by Ezekiel Alembi, imagery refers to a collective noun for the word image. Broadly, imagery means anything in a work of art that makes mental pictures in poetry; it is used to compare one thing with another. There are two types of imagery-Metaphors and similes. Similes compare things by use of words, `like’ or `as’. Metaphors do not compare things. They speak of them as if they really are the other thing.

Tone refers to the poet’s attitude towards the subject of the poem. It also refers to the poet’s attitude towards the poem and the stylistics devices used. The tone could be sarcastic, ironic or even satirical. For instance, in the poem, `I speak for the bush’ the tone is sarcastic. The poet ridicules what he thinks to be wrong like quarrels and fights of those who deem themselves civilized in towns.

In the book ``Writer’s in Politics’’ by Ngugi wa Thiong’o, he argues that the story that African writers and indeed all Africans in their different ways have been trying to tell. It is simple, the true literature of them African peoples from the Americans and west Indis to the continent of Africa and written with blood of the people on their black flesh. It is the literature of struggle, the struggle of ordinary people who against great, odds have nevertheless changed and are continuing to change oppressive social systems.

Joseph Kariuki in his poem, `sleepless in Angola’, tries to bring out this struggle in Angola and Africans continent at large. He symbolically uses machine gun cracks to show the war that was

taking place. He further employs symbolism of the wails of their dying which have drowned their dancing drums to refer to the suffering, pain and agony inflicted on the Africans that brought an end to their happy and peaceful life. He then employs rhetorical questions to express the uncertainty of the results of taking up arms against oppressors.

In the poem, ` a wind blowing from the North, it is symbolically used to show the spirit of nationalism that was arising in Africa which starved armed struggle against the colonialists. Through the use of paradox where Kariuki says ``so that by Death their children may live’’ he brings out the fact that the African fighters were willing to do for their liberation so that the younger generation could live in peace and freedom.

Ngugi argues that right from the moment the settlers, the governors and the missionary set foot in our land people resisted. They fought back with sticks and spears and guns and bare hands. They were beaten but were often defeated and the settlers went to play golf, tennis and gymkhana, his fear assuaged but this was only temporarily for the people came back even stronger harming themselves with better weapons and a firmer unity arising from their consciousness of their common link as an African working people on the cultural level, they refused to sing to the lord asking to be washed white they created their own literature, often those songs and dances created by people for the people in their economic and political struggle were banned by colonial administrations.

Kariuki argues that the struggle is not only in Angola but the whole torn continent and that the fighters will not let their oppressors till their land freely in peace and they will not surrender until they have won.

Alexander Mugai in his poem ‘Troubled Warrior’ tries to bring out the same aspect of resistance. In both poems, the poets try to bring out the aspect of putting to halt all their activities until they have their foes. The warrior is ready to take the blame of being thought lazy by putting down his hoe, his grazing stick and leaving both his lover and sister to go in the forest and persevere all the agonies until he has laid ambush against his enemy. Through the use of repetition, the warrior swears not to surrender until he has got victory after which he will get back to his normal life.

Ngugi Wa Thiong’o in Writers in Politics talks of one of the Kenyan Patriots J.M Kariuki who fought against injustice, racism and against economic inequalities and even exploitation of the labour power of the masses, even if it meant paying for commitment with his blood. Ngugi argues that Kariuki’s encounter brought out patriotism in its purest and most illuminous manner.

He quotes J.M Kariuki in the book Mau Mau detainee where he swears that none of them can rest quietly while any of their people is suffering in Angola, Mozambique, South Africa or

Rhodesia. He says that there were more sacrifices needed until they got freedom and they were ready to make them.

In writers in Politics, Ngugi asserts that the poet and the politician have any things in common. Both trade in words. Both are created by the world around us, activity and concern has the same subject and object: Human beings and human relationships. Imaginative literature is so far as it deals with human relationships and attempts to influence a peoples’ consciousness and is about operation of power and society are reflected in one another and can do act on one another.

Henry Barlow in his poem, `Building the Nation’, he captures politics where he satirically talks of a destructive politician who is up to his own good at the expense of his nation. The surface of the poem is about a conversation between the permanent secretary and his driver as he is taken home after a function but Irony is apparent in the title what the permanent secretary does is not what we expect of building the nation. Lunches and drinks hardly qualify as nation building through satire the poem critics the wastage incompetence and indifference of the ruling class.

Barlow in this poem tries to bring out the exploitations of the common man. The PS stands for politicians and the ruling class on the society whereas the driver stands for the common man.

Barlow’s idea is also held by David Rubadiri in a Free Verse poem entitled `yet another day song’. The persona after participating in the independence struggle the tables have changed and are now in exile.

According to Barlow, the PS denies to have taken any food even after the feast. He claims he was attending to highly delicate diplomatic duties which cause him stomach ulcers. He intentionally uses this to bring out the hypocrisy of the ruling class when in the face of the public and when performing his duties. The driver according to Barlow had not taken any food. This is symbolic of the lower class and the sufferings that they undergo due to the exploitations by the upper class. The driver shows agony of the common man.

According to us, this poem is about the post colonial period where Africans only got flag independence but remained under exploitation similar to that of their colonizers under their fellow black leaders.

Okot p’Bitek in the poem they sowed and watered also agrees with this idea. Also, Ngugi in his book `Writers in Politics’, the hopes of the people after independence were that their leaders

would realize that they were not put in the positions of power to satisfy nor to strut about in fine cloths and huge cadillas as ambassadors and ministers but to create a new nation, of our leaders according to Barlow in his poem have failed to honour this wishes.

In a study of Okot p’Bitek by Monica Mweseli, she talks of Okot’s article ``Indigenous Ills’’ where Okot criticizes the African governments not only further dictatorship and discrimination policy but also for their capitalism irrespective of their celebration the African people have had problems even under their rulers often do not seem to care about their problems. Okot also makes a point that the black rulers who took over after foreign rule stepped in the shoes or footsteps of their predecessors the foreign rulers: a notion that is also hailed by Ngugi wa Thiong’o in Petals of Blood.

Okot, according to Prof. Mweseli, is concerned with the Black African political leaders who are rich at the expense of the masses. The issue being discussed is that the voters expected change for the better after foreign rule was overthrown but they have experienced no beneficial change they are still suffering as of old.

From Writers in Politics, Ngugi Wa Thiong’o goes on to argue that the class in power controls not only the productive forces of the community but also what is produced, how it is produced and how it is shared out and cultural developments as well.

The embrace of western imperialism led by African finance capitalism is total and necessity, our struggle against it must be total.

Ever today, African writers have often refused to see that values, cultures, politics and economics are all tied up together that we cannot call for meaningful African values without joining in the struggle against all the classes that feed on a system that continues to distort those very values. We must join the proletarian and the poor peasant struggle against the parasitism of bourgeois, the landlords and chiefs, the big business African classes at the time act in unison and concert with foreign business interests.

Dr. Emiritus Samuel Mbiti was born in 30th November 1931. He is a Kenyan born Christian religious Philosopher and a writer. He is an ordained Anglican Priest and as of 2005 a canon. Born in Kenya, he took his doctorate at the University of Cambridge UK.

In his poem, `the crucified thief’, Mbiti tries through a biblical allusion to bring out the events that took place during the crucification of Jesus in the book of Mathew 27:1-66. Mbiti, through the character of crucified thief reveals to us the reason of the crucification of Christ; the sins of the world. He brings out the great suffering and humiliation that he went through at the cross.

In the poem, Mbiti also tries to bring out the issue of salvation where Christ was with the thief in paradise. He narrates through personification the events that took place during crucification like the edipes which he terms as the sun hiding in fear, the earthquake and rising of the dead.

Mbiti concludes the poem by bringing out the fact that Christ had died to take away the sins of mankind.

From this poem, the thief is seen to believe in Christianity and holds that the account of crucification of Jesus as per the bible is true. Okot p’Bitek in his book `Artist the Ruler’ holds a different point of views. According to him, Christianity has not provided African societies with vital philosophy of life around which they have reorganized their social institutions. He brings into consideration different views about the crucification of Jesus for instance Erick Marscall in his inaugural lecture as professor of Historical theology at Kings College London, stated, ``It has been emphasized that Christianity is historically in a sense in which no other religion is, for it stands or falls by certain events which are alleged to have taken place during a particular period of forty-eight hours in Palestine nearly two thousand years ago. All sorts of strange things happened during these few hours. How, for one, do you interpret Peter’s so called denial? Why should a rugged fisherman deny his friend? Could it be that the fellow who was arrested was not the real Jesus, and that Peter was telling the truth and nothing but the truth, when he said that he did not know that particular man? Did Jesus ever claim that he was the King? King of the Jews? When asked, he told Pilate that he (Pilate) was the one suggesting it. Then there was the robber, Barabbas who the Jews chose instead of Jesus for pardoning. Who were the other thieves who were hanged on either side of the Christ? Christ is reported to have died very soon; the thieves had to be killed by breaking their bones. Some fellow by the name of Joseph of Arimateurs took away the `` Body’’ of Jesus. Had he infact died or was he merely unconscious? But an uttering the most pathetic words `Father Father, where have you forsaken me? There was an earthquake and, was it a total eclipse? Some people hold the view that it was during all this confusion that Jesus escaped, helped by his cowardly friends or some other fellows he cured with his sorcery for three or so days he was hidden in some home and nursed. Could it be the house, room of that girl of Magdalene who claimed to have seen him first after the supposed death? He surprised the disciples where they were hiding and showed his wounds in the hands and feet and asked for food. He was given fish which he ate. Then according to those who hold this view, Jesus secretly travelled to orient where he preached until he died in Old age.

Whatever the case since the churches have no social philosophy upon which to erect social institutions, Christianity has not become a relevant basis for social life anywhere. How do you explain the opulence in the Western World if Christ taught some form of ascetic life? If the prince of peace had any say, how do we explain the extreme bellicosity which now threatens to

destroy the entire world? These and many other issues are major witnesses to the failure of the Christian mission anywhere at any time.

Ken Goodwin in ``Understanding African Poetry’’ shows us that Okot is against Religion, Lawino claims she refused to join the catechist lass rather than become a slave describes the labour the girls go through. The missionaries even continue to deny the girls adequate food.

According to Okot p’Bitek in the Artist the Ruler, the Africans were attracted to the Christian community simply because of the ``useful things’’ and services that the churches offered or promised to provide. Material things not spiritual or ethical teachings. Medicine like the tablets with which Dr. Albert Cook treated the Acholi who called it lizard eggs, money produced either by planting cotton and other crops which were introduced by the missionaries or by making household goods like chairs, tables, beds or by building the new style houses using the skills which were taught by the missionaries. The Africans did not go to the church to offer sacrifices to the ghost of a young Jew called Jesus.

The African of tradition who went to church did not reject his culture; he had an alternative offered to him. It is in this light that Proscovia Rwakyaka presents a poem of situational irony ``The Beard’’ in which he presents us with a religious leader giving a sermon in church and thinks that one of the members in the congregation: an old woman is crying because she was guilty of her sins. Ironically, the poet brings out what had caused her to cry which in this case was the resemblance of the priest beard with that of his ``dead goat’’ that is her son.

Even in the church, the woman is still tied to his culture. This is evident in her mourning of her dead goat at the expense of the sermon.

Various African writers have held various views on African culture. Chris Wanjala in his book ``Season of Harvest’’ argues that Taban Lo Liyong advocates for the synthesis of the culture. It is in this light that his poetry is based for instance, in the poem, `The Marriage of the Black and White’. He believes that the mingling of the two races can bring the best from both.

Ken Goodwin also in his book, ``Understanding African Poetry’’ argues that Taban with a quite close approximation to Okot goes on to praise Uganda dances by contrasting with effects of Western ones in his poem,` The marriage of the black and white’. However, hyperbole and mockery heroic emerge strongly where the speaker boasts the genetic advantage of the marriage of enemies. He rejects Nietzsches condemnation of the mingling of races. Indeed, the he advocates mingling as suited to.

On the other hand, Okot p’Bitek does not hold the same thought; it is in his line of thought that he creates the poem return the bride wealth. Okot, in narrative verse delineates the tragedy that faces modern African families where somehow the couple gets entangled in materialism ethics. The poet captures the anguish of old African parents who happen to have children who divert into new easy ways and forget responsibilities in the African traditional sense.

East African poets show traditional life as full of harmony, peace and order. It is life where women are earmarked for one man and live in abundant moral rectitude. But with western education and urbanization, these African women are detracted into loose living and prostitution. In the poem return the bride wealth, there is an element of loss in the family with the death of some children. The grim silence of the father succeeded by reference to the grave that he is looking at when we first see him forms the tragic mood of the poem. The decrepit of the father as a dilapidated remain of old harmony represented by ``broken cups of his withered hands’’ heightens the tragedy of this family. There is gross lack of communication between the parents and the child.

East African poets have struggled to express many issues of societal concern ranging from social concerns such as the issue of love and marriage, politics and governance and culture.

To begin with is the issue of culture, for instance in the poem ``I speak for the bush’’ by Everett Standa. He creates two characters; the persona and his friend to stand for those who have embraced modernity and the conservative Africans. Satirically, he tries to bring out the lifestyle of those who have embraced modernity for instance how they dress like nuns and how they go in night clubs in the name of enjoying but there they fight each other like hungry lions. He brings out the promiscuity of those who have embraced modernity in their night clubs the woman being the man. The poet rhetorically questions those civilizations and brings out the irony of life in the city by bringing out unfortunate members of the society who roam the streets helplessly. The hungry, crippled and the blind Everest satirizes the civilized to teach him their ways. In real sense, this tries to point out their inhumanity. This is the issue of concern even to Okot p’Bitek in his poem, ` return the bride wealth’, someone said that love and war rules the world. East Africa poets have also tried to embrace this old adage. In his poem I love you my gentle one, Ralph Bitamazire greatly captures this issue. Ezekiel Alembi in his book understanding poetry argues that it is a good example of a love poem. Generally, one could say that either of the lovers, man or woman would sing or recite this poem to the other. However, because it is yet in Africa, it must be the man singing or reciting to his wife. This is because it is yet in Africa. It must be the man African societies, it is the man who approaches and wins a woman. Very rarely does it happen the other way around.

The love of the man for the woman is compared to the fresh milk in the rubindi (line two). This comparison tells us the man’s love for the woman is pure. It is not contaminated. This is why it is ``the fresh milk in the rubindi’’ milk is very nutritious. It is the life giving food of every mammal car of mankind.

The man’s love for the woman is also compared to butter. Butter coming from the creams, is the richest part of milk.

The man then proceeds to compare the woman to the papyrus reed of the lake. Pulling out the papyrus reed can be dangerous job because it can cut one easily. Perhaps the poet is telling us that. The man made many sacrifices before winning his bride. It could also mean that it was difficult for the man to win this woman. He had to work extra hard symbolized by pulling using both hands.

Laban Erapu in his poem eyes that won’t wonder also tries to express the issue of love in which the persona tries to question the feelings of love which he refers to as the hidden power that brings them together and leads them to a place only of their own.

The use of rhetoric questions brings about Laban’s question of power of love.However in his poem I beg you, Laban pleads and urges his (probably a male lover) lover to demonstrate a restraint in love. It is obvious that this man has an upholding attitude towards love and passion. He says that he is not ready to make promises clearly shining some light to our modernity. Whereas in the current society lovers fool themselves with false promises, the persona attempts to address moral decadence and probably abolish it. Yet this has been a tough nut to crack for many. The poem exhibits a solemn tone of advice to the youth majorly, that they ought not to take love for granted. They should uphold mutual love and passion for another. Apart from love as a virtue that stands out, patience is also dominant. The persona persuades his lover to wait until their lover is primed, yet there is a reward for that; marriage. This also ought to be learning points for many young lovers who rush into marriage while ignorant of its deleterious effects when not mature.

Bukenya in his poem ``I met a thief’’ also agrees with Laban’s need to take caution in love. The persona shares quite pleasurable moments with his lover, through the use of hyperbole. Bukenya tries to bring out the perfection and beauty of the lover. He applies personification to create a lovely environment of the two lovers. The coconut towers are said to be `idle’ and `whispering’. Usually, only people are described as idle and whispering, but in this poem, coconut towers get these attributes. This is a creative way of describing a light breeze passing through the coconut tree tops and making them produces a sound like a human whisper. But the breeze is so gentle that it does not move the coconut towers much, hence the reference to

them as being idle and whispering. The cashew boughs are described as intimate. This is a beautiful use of romantic language and it helps to create the mood of a `love’. Unfortunately, the persona does not get satisfaction for his feelings since the lover goes away. This could mean that they separated even before they got married.

Another issue widely covered by most of the poems is the issue of the unfortunate members of the society and peoples view about them. For instance, Laban Erapu in his poem the guilt of giving, through use of symbolism and sarcasm, he tries to bring out different people’s views about beggars. For instance to some, it is a heap of rags that pollutes the air conditioned city centre while to others it is a louse that creeps about in the clean core of sophistication. This is symbolically used to show the extent to which they are rejected and considered unworthy.

In this poem, Erapu brings to our attention a passerby who throws a coin to a beggar which misses the mark and rolls in a gutter where he gropes for it. The passerby on realizing the mistake he had done and the fact that people were watching him, hides in shame.

This lack of care and love for one another is also described in El Miskery’s poem, `` just a word’’. He describes how human beings have lost case and love for others of their kind.

The poem juxtaposes the non living things and non-human to human beings. The persona tells us how the dogs hesitate when they meet with other dogs as they seem to recognize kinship ties they hold between them yet they are non-human, They are not rational. She goes ahead to describe the case of birds on which she says that they sing a common song in a mutual note and they touch beaks when they meet as a sign of their greetings.

In this case of non-living things, she talks about the cups which make intentional sound when they touch and also the leaves which hustle when they come to contact.

All this are contrasted to human beings who cannot pass a word to fellow human beings whom they don`t know. Their voices are hushed. They later look back perhaps due to guilty to greet each other’s mind.

It is the same issue that Marjorie Oludhe in her poem ``A freedom Song’’ tries to address, in which case Atieno, a young girl of 8 years is overexploited by her uncle; She does not get any pay for her work nor is she given a chance to go to school as her uncle’s children. She is regarded as a bad example to the other kids. Her mistreatment is also evident since her bed was sacks down in the kitchen. A bad upbringing; exposes her to pregnancy at the age of fourteen where she dies of post-partum bleeding.

Ironically, the uncle puts a huge funeral party to show the love he had for the gone Atieno. By this, Oludhe brings out the suffering of the unfortunate people in the society when in the hands of the fortunate ones.

However, Kariara through the poem ``grass will grow’’ tries to weigh the magnitude of various sufferings that people encounter in life. In this poem, the persona urges God to spare him madness but He can unleash to him all other forms of sufferings such as death, war and even desperation. Symbolically the persona uses the yolk of the moon to stand for madness which is the greatest suffering that can befall a human being.

In terms of politics, the East African poets have tried to cover the history of African resistance and the rule of the leaders who took power after independence. Yussuf Kassam in his poem`` Maji Maji’’ tries to unfold the events of a certain African nation probably Tanzania where Maji Maji uprising was formed against the Germans. He explains how the colonizers were preceded by the missionaries and how their warriors fought against them. He argues that the Germans attacked them with guns. After the war, the Germans left and the Mzee narrating the story in the poem says that they were all left lying dead and there were no more drum beats. This is symbolically used to show the corrosion of African culture that was quite evident after the departure of the Germans.

The East African poets have also tried to analyze the situation in Africa during the post colonial periods which was characterized by bad leadership, coup de tats and assassination of leaders. Yussuf Kassam in his poem `` brewing night’’ tries to portray such a situation. The title of the poem itself illustrates the unpleasant night which most certainly involves the happenings of something very strange and unpleasant in poets’ country. In the poem, the persona goes to inform us that he heard all that happened that dreadful night. He says that though he wished to sleep he could not. He personifies sleep as to have mocked him. He stayed awake sharp in all his senses for whatever might transpire. The whole universe according to the persona seemed to remain the same in the dark, dreary dead slumber. The persona goes ahead to say that he could not explain or express what was happening that night yet he knew something was happening which inflicted some sort of fear or address into the night and has caused the night to be unnatural, still and mute. The persona then goes ahead and says that the night had pulsed with passions of the people high and wild where the streets were stained with new portraits framed; the wheel changed hands and new plans were stained with new portrait frames of new rulers who have come to steer the wheel of the nation, and along with him, came his new plans. In this case the wheel is used symbolically to refer to the leadership of the country that was now on the hands of the leaders of the coup de tat. Kassam in this poem brings out the situation that some of the African nations underwent after independence where the military rule took over. In east Africa for instance, Uganda was for a long time under the military

leadership of Idi Amin after overthrowing the government of Milton Obote in which he ruled in 1971-1979 when tables were turned on him by the government of Tanzania.

CONCLUSION.

In conclusion we have tackled various poems from the anthology ‘’poems from east Africa’’ compiled by David Cook and David Rubadiri. We have in great details tried to handle the thematic concerns as political and economic injustices in Africa, love, religion and culture. We have also looked at styles as well as integrating the ideas of various critics such as Chris Wanjala in his book ‘’season of harvest’’, Ngugi wa Thiongo’s ideas in ‘’Writers in politics’’, Okot’s ideas in ‘’Artist the ruler’’, Prof. Monica Mweseli’s ideas in her book ‘’A study of Okot p’ Bitek’s poetry’’. We also included the ideas of Godwin in the book ‘’Understanding African poetry’’

REFERENCES

1. Season of harvest-Chris Wanjala2. A study of Okot p’ Bitek’s poetry-Prof. Monica Mweseli3. Understanding African poetry-Ken Godwin4. Artist the ruler-Okot p’ Bitek5. Writers in politics-Ngugi wa Thiongo6. Understanding poetry-Ezekiel Alembi