PENMIND MEDIA & CREATIVITY

The Osun Youth Summit that The Nigerian Youth Parliament organized aimed at building young people in becoming stars in future. They held the programme to show that the future of every generation lies on the shoulders of young people that the more they are well equipped the better they are to determine the positive change in the future of the country and to tell the world that youths are part of the ingredients to make the dream of every society becomes a reality. The event showed that youth are relevant in the society and they cannot be neglected at all time. It focused on the view that young people often abhor novel idea which requires nourishment through adequate training for a positive change, entrepreneurship skills as well as supports from the older generation. In setting their goals, The Nigerian Youth Parliament organized Osun Youth Summit to commemorate the United Nations International Youth Day 2016. The event that held at Osogbo the capital of Osun also marked the 25

I labour beneath the sunshine I labour to fill my feeble belly God, thank you today that I overcome hunger I am here to lay my back under your lamp Today, I have overcome the odious heat of life I have laid my only cloth under your blue sky Let it receive the breath of your sighs I rest my soul on this muddy flour When the noon sun had failed to dry Oh heaven, keep the rain in your pouch Till my sadness will rot in the night God, I prepare to go on with this night Let tomorrow mourn me Or tomorrow be my fortune day But if none of these come with its care Surely, I will remind you next night

Lecturer: Hello house Lecturer: Happy to be here Penmind Phillips: Happy to be here Lecturer: Good to be here with you *Penmind Phillips: Yeah *Penmind Abdulwaheed: forwarded (‘Good to be here with you’) Good evening sir. This is our lecturer Lecturer: I am to talk on building characters in a story *Penmind Abdulwaheed: Yes. You are welcome. Go on sir. *Beatitude: with due respect Lecturer: but let’s ask. What is characterization in story writing? *Beatitude: Characterisation is the building up characters (protagonists and antagonists) in a literary work of arts. Lecturer: characterization is a literary device used in literature to highlight and explain details about a character in a story. Lecturer: understanding characterization is essential to writing good stories. Lecturer: How do we build characters in a story? First picture the characters in  your mind. *Rotimi Adeniyi:  A character could be introduced from different available point of views o

Emaciated bones shivering l In my abode street Along pyton and voluptuous beast comrades Everyone avoids my path Like a bullet anthem; bloodshed gory What a stiffening indignantly A pariah in my clime Alas! the cosmos l carry. O you hard hearts Whose planted on my head The Tree of penury Plunging the incessant misery Like a never ending fruit Chameleon my kismet In new shape of your choosing Subjugated l;but hope l have In the second sphere Where harvested l my sweat labour Where the truth me revealed Along new cream company class. (lnspired by Sola Owonibi In Homeless Not Hopeless)                                   

  Mythical stories shrouded Enacted rituals of the past Masterpiece of economic chapter Concoction of true false dividends Accompany by the wind Bring them more, bring them more We are the singers of change Recollecting our folk stories Enjoyments of hungry bellies The river bows to obdurate thunder  The sun wig draws the parallel within The river watches the thunder in awe Like Joshua’s congregation waiting for miracles Bring them more, bring them more We are the smiling sufferers Let the river hope for more thirst The thunder clapping on mythical stories Rounding about enacted past rituals Pun punctuations on its passages We are the hoping hopes after sunset   

’ T i s tog e th e r o u r s , n o t a l o n e t h e i rs F o r t h i s th ey m us t s h ed t ears – R i v ers o f w a t er i n t h e i r e y e tanks W e w oul d d r in k t o d a y w it h o u t t h a n ks . S i n ce t h i s pl a n e t t h e y ’ v e c h o s e n t o r i v e n , T h e i r o f f s p r i n g m us t fr o m here a w ay be d r iv e n F o r e v ery la s t m o r s e l th e i r f a t h e r s d e v ou re d , O m ni v o r ou s p a c h y d e r m s m us t b u t be l a b o u r e d Fa i t h f u l de c e i v e r s ; a n t a go n is ti c f r i e n d s : T h ey g iv e n o d a m n abo u t fe l l o w s ’ ends T h ey d i re c t t o t h e e a s t T h at a s k s f o r t h e we s t F o r e v ery s i ng l e h ar m t h e y ’ v e don e , A n d t h o s e i n t h e i r m i n d s u n d o n e, T h ey s h o u ld n ’ t at a l l b e p ar do n e d I m ea n … w h y w ou l d t h ey be p

What's in a name? I sometimes ask myself John, Dagan, Amaka, Ademola or Abdullahi It sticks forever to your chest, Just like a birth mark It often tells where we're from and with whom our mama had laid Were you born in the woods, on a sunny day or when it rained? Did you marry an Obasanjo, a Clinton or a Dangote? Or like in some cultures, is it the sound coming out of a breaking plate? What's in a name, I ask again? Most ladies get married and add one more to their names. A proud Mrs frowns when addressed only by her maiden name. Even a dog wags its tail proudly when he hears being called I've seen where a dying man when called by his name, came back to life The same way I have witnessed others die, when called by their chosen name And how same has inspired many, when a mention of their hero"s name is made.

We paint holy pages With songs of war To liberate falling consciousness From the tyrant of a bleeding pen Who we build nation on its tail Somewhere behind reality Mouths gagged with bereavements Arranging the masses notes In the warple western wallets And cloak our thunder in a panic We promised to celebrate victory Face ultimate test of devotion Accept all unidentified labels The commandants of all battlements All violence. The fences continue falling At the shore of obscurity The exile beacons our rising Trying to split bitterness On the rejecting rock Who steps out of our mirror Truly, we much withhold the Aristotle Maxism theory, the Karl Marx… Foul absoluteness on dynamic cloud And caress each others’ back With thorn fingers sometimes The Smiths move toward a place The corners of Ninety Eighty Four Vision searing our flesh The clown colony of poverty And forget the herald of Maiduguri’s fallings The odour of

  I Some, very busy Roads, glitter on the path of cheers Tiled with counsels and visions, dreams In the influx of ante- step to the gristle of goals Grasp with emotion, passion without discretion There on the Roads, the busy road, dreams Of masquerading Mirage and sight The busy Roads are worshipped Like god with no grimace of gristle or goggle at glum: At dusk and dawn, sojourners travel with flight. So the busy Roads take shoulder high in the sky There must be no flaw of the speeding vision Lest the sky falls and the earth tears to tear its tears There must be travelers There must be sojourners Even with vision of no missions, There must be trippers On the busy Roads Trippers of these busy Roads Are not only those who trek on the heart of the future, Those, whose goals seethe, also hire the bus of the busy Roads While the amorphous mission wanders before stipend of the pouch Still, strife thrives to glow in the sky Still

• Submission of articles begins The 1980s was a momentous decade for Nigerian literature and one of the enabling factors for the literary effulgence of that era was the robustness of the critical enterprise woven around the literary productions. The Guardian newspaper provided a significant platform for the critical engagement of writers, literary works and their raison d etre vis a vis literary trends which ended up evolving into a national literature. Through the famous, but now rested “The Guardian Literary Series”, the newspaper provided scholars and critics a formidable site for engaging Nigerian literature from different perspectives spanning from the oral tradition to contemporary writings. The series ran for a decade or so before it folded up. However, its remarkable critical output metamorphosed into two seminal volumes of essays aptly titled Perspectives on Nigerian Literature: From 1700 to the Present (vols. I and II) edited by Dr. Yemi Ogunbiyi. The two volumes r

Se v e r al st r a n g e r s , up o n m a n y m o m e nts , W hil e t h r o ug h t h e t o u g h e s t t h r o a t o f t h i s s c i o n T h ey tre ad , s h a k e h e a d s s h a m ef ull y – M o c k in g i n a d v a n ce, th e m u ch e x p ec t ed G l o o m y end o f o u r f a t a l l y i l l c o n t i n e n t . S o m e ask a n d p a u s e : ‘ I sn ’ t this t h e re sp l e n d e n t e a r t h u p o n W hi ch s o re s w e a t s o f s t r u gg l e Fr o m ga l l a n t n a t io n a l i s ts ’ ar m pit s D r i p p e d as d e w s o f d a wn ? ’ S o m e p aus e a n d a s k : ‘ I sn ’ t this t h e s a cr e d altar o v er W hi ch a d a m a n t m ar t y r s ’ b l oo d W hi ch s t r o v e t o r e t r i e v e b r o t h er s ’ fe e t Fr o m t h e h o s t i l e sh ac kl e s o f A l b i n o s ’ ch a i n s W ere sp l i t s h a m e l e s sl y as l i b a t io n of a t on e m e n t T o cle a r c o m pl e x c