Peter Okonkwo’s philosophical—religious, even—quest in Fate, in the Dungeon of Doom has the potency to spur a reader to re-examine the debate on the ‘difference’ between poetry and philosophy. In this collection, his critical tone and meditative mood are proofs that poetry is different from philosophy only as much as a man’s two children, given birth to by two different women, are different, yet bonded by their paternal genetic cord. The collection proves that there’s enough gene of philosophy in poetry as there is poetry in philosophy, as both are fetuses of the semen of wonder. Aristotle’s assertion that “It is owing to their wonder that men both now begin to philosophise” is evocative here. It is the same art of wonder, to examine man’s existence, particularly the metaphysics of destiny, that Peter Okonkwo undertakes in this collection.
In Fate, in the Dungeon of Doom, ‘wonder’ is both a foreground and a motif. As a motif, the poems, burdened by the mysteries of destiny, are the poet’s (constant) attempt to ascertain the nature, cause and effect of man’s kismet: “Why do many people lose/their way to locating/your divine destination?” he enquires. Okonkwo sets out, as metaphysicians, theists, pastors, even religious worshippers do, to understand the mystery behind fate. But it seems, the more he enquires the more it becomes mystical; for behind every poem with which he sets out on this quest lurks the tone of frustration, of uncertainty occasioned by his inability to provide ultimate answer to this riddle which seems to be ever predominant in man’s cosmic affairs. “Whoever stays too long on a journey/will return home someday”, he writes. But one later realises that his “return home”, from such quest, is only a glimpse at the answer, from yet a blurred horizon.
The collection is divided into three parts: the first part is subtitled “The Poems of Fate”, and it contains thirteen poems; the second part is subtitled “The Poems of Kwame”, and contains thirteen poems too; the third part is subtitled “Other Poems”, and contains twenty two poems. The part which expressly details Okonkwo’s existential interrogations of “fate” is “The Poems of Fate.” However, the thematic gaze is equally shifted to the part subtitled “The Poems of Kwame”, which chronicles the tragic death of a boy named Kwame who is killed by his evil relatives in the village. Kwame follows his mother (Vanessa) to the village after the sudden death of his father only to meet his own death—“fate.” The death consequently traumatises his mother, as captured in the poems: “Vanessa’s Loneliness”, “The Trouble with Vanessa”, and his cousin, Etean, in the poem: “Etean’s Letter To Kwame.” One sets out on a good course only to return with misfortune. Okonkwo’s basic concern here is not simply the fact that destiny is a lineament of life; rather, the inherence of what could be considered ‘negative’ destiny which usually emerges where ‘positive’ one is expected.
A number of questions seems to underlie his quest: can man come to terms with his destiny? What is responsible for his fate? Can his kismet be haltered? When does he realize that he could (and should) influence his destiny? When does he know that his destiny is negative or positive, hence, should be accepted or rejected? Burdened by these wonderings, he writes: “It makes me wonder how long a man would know the way to his fate/How do I know if I have arrived at the junction of fate?” (p.45). For Okonkwo, even man’s spiritual inclination cannot provide outright answer to the enigma of his fate, for, as he laments: “Even though he could confide his fate to the supernatural God/how will he even know if something is wrong or right with it?”
The rather sombre tone evident in these poems underlies the individual frustration (“doom”) that inspires some of the interrogations, such as: “If I’m destined to be successful, why is it that I still suffer?/If I’m destined to have good fortunes/why do I still miss it?/If I shall ultimately laugh/then, why do I still cry?” However, they are critical questions targeted at his theistic self. Okonkwo seems to hold God against His words (such) as recorded in Psalm 121, especially, in line with the existential contradictions evident in believers’ realities. For instance, theists who believe that destiny is a divine lineament of man’s spiritual being, often owe the knowledge of their destiny to their spiritual relationship with God according to the latter’s words in the Bible. However, Okonkwo, armed with [his] fate-twisted reality, seems to hold antithetical view that even such does not guarantee understanding of one’s fate.
Even so, he seems eager to find clues to some of the questions elementary to his wondering. For instance, the question of whether fate could be haltered, which, differing from theists, and leaning towards the Epicurean viewpoint, he conjectures that man’s thoughts, actions and inactions are determinant of his fate; for him, they determine what he calls man’s “fortune” or “misfortune:” “But who knows if destiny will end in fortune or misfortune?” he writes, in the poem “Something Must Have Impeded a Man’s Fate” (p.61). For him, the power to halter and/or influence his fate/destiny, although intricate, lies in man’s consciousness of his actions and inactions in relation to how such influences his reality. Here, Okonkwo writes with an existentialist undertone.
It is significant to note that, in this collection, Okonkwo does not conform to one school of thought against another; rather, he looks into the basket of thoughts, knowing the intricacies of the subject he pursues. He speaks with the voice of the stoics, the Epicurean, the theist, the existentialist, etc. Like the plethora of voices, he also uses different style and techniques—dramatic, narrative—to deliver his subject matter in this collection. Dramatic technique is seen in the poems under “The Poems of Fate”, while narrative technique is seen in the poems under “The Poems of Kwame.” The assemblage and artistic utilisation of these techniques to deliver his themes is a mark of artistic merit that cannot be easily ignored in this collection. However, his neglect of language atrophies the stylistic nuance of the collection. There’s also excessive enjambment which limps rhythm, hence, lyricism. He seems not to pay much attention to imagery and metaphorical manipulation which are markers of great artistry. Some of the poems seem to be written in a flight of thought, as against consciousness of language, hence, diction. An example is the poem, “Whose Fault, Fate or Mine?” in which he writes: “If I am yet to receive it/ If I still suffer from not arriving at the junction of fate/Is it my fault?” The merit that could be accorded the depth and vigorousness with which the subject is pursued cannot be accorded the language with which the poems are written; hence, an imbalance which he should not ignore in subsequent publications however urgent the subject may be, for subject matter is hardly a measure of great poetry as language is.
Nket Godwin is a poet, literary critic/essayist and book reviewer. His works have appeared or are forthcoming on Afrocritik, Africanwriter magazine, The Nigeria Review, Konyashamrumi, Lionandlilac magazine, Eboquill, Best Poet of the Year, 2020 Anthology published by Inner Child Press, US, How to Fall in Love Anthology, HaikuNetra magazine, etc. He writes from the city of Port Harcourt, Rivers State. He can be reached via:
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Email: nket96@yahoo.com
