Flora's Love Colony
Flora's Love Colony is an anthology of poems that recount the intrusion of imperial fascination with the purpose of Nigeria's ebullient human and capital resources. Set in contemporary Nigeria, the poems discuss how persons are involved in the destiny of a nation and how years of that encounter have resulted in some fatal conditions of disillusionment. This borders between identity relations and ideological displacement. The poems are a resounding rendition of reflective experience whereby a vicarious encounter with the consequence of colonial intervention becomes the bane of post-modernist sense of identity and ideology. It features characters and settings whose references provide a background to the satirical images of taking a continent as a whole through the axis of an imperialist enterprise.
Flora's Love Colony takes a light-hearted approach to addressing the romantic passion of foreign influence that unhinged aborigines from their source of artistic knowledge. That is, the temporal settings alluded to in the poems are experiential encounters of historical evidence. While that lasts, the reader can piece together the same subject of argument and displeasure with which the pioneer Nigerian literary pool is still associated. It is this viability that the reader is primed to deduce within the margins of archetypal responses. This may be taken as a bold narrative impression into the nature of the exploits of freedom versus the conditionings of exploitation. In other words, Flora's Love Colony is a head-on meditation on the dream of a conquistador.
The poems are an adventure into the vast world of interracial affairs, producing for its immediacy the obsession with cultural integrity and boundary sensibility. This in itself is not the ultimate denunciation of the interference so addressed; rather, it undergirds the multiple thematic tours from personal to societal concerns. In the process, Oburumu makes a representation of his contemporary society as both a victim and a beneficiary of the collateral of colonialism. The reader sees in that order the changes and transformation that may have been impossible to achieve and at the same time could have, by their own civilisation, produced a mechanism of indigenous aptitude to structural development and allied approaches to the dream of a continent.
Flora's Love Colony is an anthology of poems that recount the intrusion of imperial fascination with the purpose of Nigeria's ebullient human and capital resources. Set in contemporary Nigeria, the poems discuss how persons are involved in the destiny of a nation and how years of that encounter have resulted in some fatal conditions of disillusionment. This borders between identity relations and ideological displacement. The poems are a resounding rendition of reflective experience whereby a vicarious encounter with the consequence of colonial intervention becomes the bane of post-modernist sense of identity and ideology. It features characters and settings whose references provide a background to the satirical images of taking a continent as a whole through the axis of an imperialist enterprise.
Flora's Love Colony takes a light-hearted approach to addressing the romantic passion of foreign influence that unhinged aborigines from their source of artistic knowledge. That is, the temporal settings alluded to in the poems are experiential encounters of historical evidence. While that lasts, the reader can piece together the same subject of argument and displeasure with which the pioneer Nigerian literary pool is still associated. It is this viability that the reader is primed to deduce within the margins of archetypal responses. This may be taken as a bold narrative impression into the nature of the exploits of freedom versus the conditionings of exploitation. In other words, Flora's Love Colony is a head-on meditation on the dream of a conquistador.
The poems are an adventure into the vast world of interracial affairs, producing for its immediacy the obsession with cultural integrity and boundary sensibility. This in itself is not the ultimate denunciation of the interference so addressed; rather, it undergirds the multiple thematic tours from personal to societal concerns. In the process, Oburumu makes a representation of his contemporary society as both a victim and a beneficiary of the collateral of colonialism. The reader sees in that order the changes and transformation that may have been impossible to achieve and at the same time could have, by their own civilisation, produced a mechanism of indigenous aptitude to structural development and allied approaches to the dream of a continent.
