Ripples From The King’s Court| Mosobalaje M. Abimbola



A poet is necessarily, by design, a craftsman. His trade is to create new realities and forms through language. Language, in itself, is raw, and will require a process. It is how that process is utilized that distinguishes one poet from another. Like a craftsman, the poet creates something tangible, something distinct, and, sometimes, something deliberately indescribable. Such a craft can be impressionist, exploring metaphorical symbolism; expressionist, where the poet recreates reality and presents the reader with another perspective; or eclectic, where the poet becomes a god and creates as he wills. It is a delightful rarity to see a poet consciously infuses multiple perspectives in his invention. More appealing is when such invention is executed with mastery and control. This is the impression I had when I first read Ripples from the King’s Court. And I had to read it again!


I have known Abimbola and his love for poetic acuity. I have followed his art and watched him evolve. However, it was a totally different experience when I read this collection. I experienced a serenity that impressed on one a feeling of profound intellectual interaction, an emotional exploration, and a calculated conscientization. I could not read through cursorily; I paused and reflected on each poem, and had to explore and experience their nuances before I could fully relish the depth of thoughts, the mastery of expression, and the willful control to convey his vision to his readers. Abimbola was not in a rush to communicate with his readers. He took his time to tell of “homecoming”, to ask “questions”, and to instruct on “how to break a heart”.

Two things stood out distinctly in this collection: influencing how we interpret our reality, and how he did it. A poet recreates the familiar and makes it appealing in a new way. The author began a reconstruction of our protected reality by asking questions. Oftentimes, we avoid to question the obvious. Perhaps, it is due to laziness, or ignorance, or a deliberate desire to preserve the ancient landmark that is no longer relevant to the future. In this collection, the poet questioned acceptance and assumptions. He redefined freedom. He recreated the journey to self-discovery and fulfilment. His depth of understanding of human reality could be seen in how he deconstructed the popular Christian doctrine of “bornaganism”. And you need to read “how to pray” to see that this craftsman meddled into the muddy waters of religion to question a constantly decaying social morality, despite the abundance of religion and over-exaggerated piety.


In “lines”, Abimbola explored the themes of struggle and attempts at making meaning in a life that is synonymous with “debris” or “game seed”. In “omo ayo”, the author utilized the instrument of satire to lampoon the futility of man in trying to explain away the destruction and damnation self-inflicted. He stretched his caustic satirization in “quizzing quizzes”, where the issue of atheistic sentiment was mathematically dissected. Such eclectic exploration is laudable.

Ripples from the King’s Court is a perfect blend of multiple styles, diverse themes, and fluid expression. The reader will behold his/her face in the mirror held by each poem. The reader is tasked to think differently, embrace the scars of self-discovery and celebrate in such revelation. There is no effort to mask reality or apologize for the intentions of recreating reality. This poet’s mission is simple: leave the reader transformed through his creative poetics. And he did just that. He did not just do that, he invited the reader to find hope and meaning in self, and share such graciousness with others to make the world a better place. This collection of poems is a rare gift to a generation drunk with confused knowledge. Take a moment to ask questions and dare find your reincarnation.


Thank you.

Funso Oris,

Poet, Anthologist, and Co-Author of State of the State: Sordid Beatification, Chicago, USA.

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Ripples From The King’s Court

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