When Man Becomes Water

by Lidudumalingani

After the two poets, Clint Smith and Pages Matam, launch into their powerful poem, ‘Flash’, reciting the opening line together, “Sometimes I stalk myself on Facebook,” followed by a short stanza, such that each poet recites only a single line, the poem begins. The function of the opening stanzas have the feeling of only existing to interrupt the permanence of silence, the moment a room falls silent in anticipation of the performance and so the sentences work as a way to ensure that the entire audience takes a breath at the same time, that nobody is left behind. It is when Smith begins the next stanza that things get interesting. Smith says, “Then I come across images from the year I spent living in South Africa, a place where I fell in love with photography but struggled with the fine line between capturing my own experience and exploiting someone else’s suffering.”

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In The Shadow of Context

by Kọ́lá Túbọ̀sún

Context: The circumstances that form the setting for an event, statement, or idea, and in terms of which it can be fully understood and assessed.”
– Oxford English Dictionary

In the early twenties, Professor Ivor A. Richards, in search of a new way to teach the assessment and appreciation of poetry, came up with an idea that seems commonplace now, but at the time was interesting enough to challenge existing conventions. What he did, an experiment he detailed in his book Practical Criticisms (1929), was to distribute to his students, poems written by a wide range of people from ancient masters to modern practitioners, from Shakespeare to a random poet in the reigning literary magazine, without the names of the authors printed on the pages of the poems.

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