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General note:
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Keats, Shelley, and Blake, as well as of Byron, and even of Ojaide’s own poetry; but certainly not the modernism of Wole Soyinka, whose practice is obviously more in line with that of T. S. Eliot, who said that his poetry should be more correctly viewed as a concerted effort to escape from his own personality. Thus, given that the technical apparatus and techniques (if not the belief systems) of most of Soyinka’s poetry is aligned more toward the tenor of modernism, one might question whether the transcendental theory can account for his modes of poetic composition; whether in fact it is relevant to the learned way that appears to be the one that comes most naturally to a compulsive wordsmith like Soyinka. The need for a book devoted to Soyinka’s poetry, which responds with critical vigor to the provocative and lively style of argumentation, the driving force of Soyinka’s writing, continues to remain an acute one. —Ode S. Ogede
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