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Literature

Exhausted? I’m Fine, I Think… By Adeoye Inioluwa

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There is a strange kind of exhaustion that does not announce itself.

It does not always look like collapse or crisis. It often looks like productivity. People still go to work, still reply messages, still meet deadlines, still laugh at the right moments. From the outside, everything appears intact.

But internally, something is constantly draining.

We rarely talk about this state because it is inconvenient to define. It does not fit neatly into categories of “well” or “unwell.” So instead, it becomes something people quietly endure — a background fatigue that slowly reshapes how life feels.

In modern society, being busy has almost become a moral achievement. Rest is postponed until everything is finished, yet everything is never truly finished. There is always another email, another expectation, another version of ourselves we are trying to improve.

At some point, exhaustion stops feeling temporary and starts feeling like personality.

What makes this even more complicated is that many people are not technically breaking down. They are functioning. And because they are functioning, they assume they should not complain. After all, there are others who seem to be coping better, achieving more, handling more.

So silence becomes the default response.

We learn to say “I’m fine” with increasing efficiency, not because it is true, but because it is easier than explaining a fatigue that has no dramatic shape. There is no single event to point to. No visible wound. Just a gradual thinning of energy, patience, and emotional availability.

Perhaps the most overlooked part of this experience is how normal it has become. Entire generations are growing accustomed to living slightly detached from themselves — present in body, absent in feeling. Constantly reachable, but rarely restored.

And yet, nothing about this state is actually sustainable.

Human beings were not designed for continuous performance. There is a reason rest exists not as luxury, but as necessity. When rest is treated as optional, everything else slowly becomes heavier than it should be.

Maybe the issue is not that people are weak, but that the standard for “coping” has quietly shifted beyond what is healthy. We praise endurance without asking what it is costing.

And so the question becomes less about how much more people can take, and more about why taking less has become so difficult to justify.

Because sometimes, what we call normal life is simply prolonged depletion — widely shared, rarely named, and almost never questioned.

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Literature

Survival, Soft Life and Side Hustles

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By Anjorin Fehintola Stella

There is a quiet transformation happening among young Nigerians today; one that does not always make the headlines, but shows up in the numbers, in the timelines, in the conversations happening in kitchens, group chats and rented apartments across the country.

Across cities and small towns alike, an increasing number of young people are re-inventing themselves in real time, switching careers, learning digital skills, building online businesses, creating brands from their bedrooms and refusing to remain confined to traditional definitions of success.

For many, survival is no longer just about finding a job. It is about creating opportunities where none seems to exist. A generation once told to follow predictable paths is now embracing uncertainty, adaptability and self-reinvention as a way of life.

To understand why, one has to understand what was handed over to this generation. They were raised on the promise that education was the key, only to graduate into a job market that had misplaced the lock. Young people who did everything right, studied hard, earned degrees, dressed sharp for interviews, were still told, in one way or another, that there wasn’t space for them at the table.

Economic uncertainty has played a major role in this shift. In a country where traditional employment opportunities are increasingly limited, many young Nigerians have been forced to think beyond conventional career structures. Side hustles have evolved into full time businesses. Skills once dismissed as hobbies such as makeup artistry, hairstyling, content creation, fashion branding, photography and digital marketing are now becoming legitimate sources of income and influence.

Social media has also accelerated this culture of reinvention. Platforms like Instagram, TikTok and LinkedIn have exposed young people to new possibilities beyond their immediate environments. Today, a young person in Lagos can learn a skill online, build a customer base digitally and create a brand capable of reaching audiences far beyond Nigeria’s borders.

What makes this moment fascinating is that the reinvention is not uniform, it doesn’t have a single face. It is the law graduate who now runs a thriving catering business and carries no shame about it. It is the banker who wakes up one morning, looks at the spreadsheets, and decides that her real life is in fashion design. These are not people who failed at their original paths. These are people who outgrew them. There is a difference, and it matters.

Yet, beneath the aesthetics of entrepreneurship and online visibility lies a deeper reality, many young people are reinventing themselves not purely out of passion, but out of necessity. Reinvention has become both a survival strategy and a response to a rapidly changing world. And the quietness of it all is deliberate. Previous generations reinvented loudly, with declarations, and testimonies and big announcements. This generation has watched too many people announce transformations that never survived contact with Monday morning. So they build in silence. They learn the skill quietly, save the money quietly, test the idea quietly. And by the time the world notices, the transformation is already complete and too solid to be talked out of, too real to be dismissed.

Perhaps the most remarkable thing about this generation is its refusal to remain stagnant. Faced with economic pressure, social expectations and an unpredictable future, many young Nigerians are choosing adaptation over defeat. They are learning, unlearning and rebuilding themselves repeatedly in search of stability, relevance and purpose. They want autonomy. They want meaning. And perhaps most radically, they want multiple things to be true about them at once, to be the professional and the artist, the corporate and the creative, the serious and the soft. They are done choosing.

In many ways, reinvention is no longer an exception among young people today. It has quietly become a defining characteristic of an entire generation. And if you are somewhere in the middle of your own, in that in-between space where you are no longer who you were but not yet fully who you are becoming, the silence is not failure. The silence is the work.

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Literature

Writers Celebrate Chinua Achebe’s 94th Posthumous Birthday

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Writers across Nigeria, under the auspices of the Society of Young Nigerian Writers (SYNW), have united in commemorating the 94th posthumous birthday of one of Africa’s greatest literary icons, Prof. Chinua Achebe. Achebe, renowned globally for his groundbreaking novel *Things Fall Apart*, remains an enduring symbol of literary excellence and cultural preservation.

In a statement issued by Wole Adedoyin, the President of SYNW emphasized Achebe’s unmatched contributions to African literature and his role as a beacon of inspiration for writers across generations. Adedoyin highlighted the Society’s unwavering commitment to honoring Achebe’s legacy through creative and impactful initiatives.

One of the key tributes mentioned is the *Chinua Achebe Annual Literary Festival and Memorial Lecture*, initiated by the Anambra Chapter Coordinator of SYNW, Izunna Okafor. Now in its 9th edition, the festival has become a significant platform for celebrating Achebe’s works and discussing his influence on modern African literature.

Cynthia Maduekwe, the President of the Nigeria Society of Campus Writers, also spearheaded the *Writers Tour*, another initiative aimed at engaging young writers with Achebe’s literary philosophy. This tour exposes aspiring authors to Achebe’s timeless themes of cultural identity, colonialism, and societal transformation, ensuring his legacy continues to inspire future generations.

The Society of Young Nigerian Writers (SYNW) reaffirmed its dedication to Achebe’s memory through these longstanding programs. Writers across the country were encouraged to reflect on Achebe’s life and works, sharing tributes and essays on social media platforms to further propagate his vision of storytelling.

Adedoyin lauded the efforts of writers like Okafor and Maduekwe, whose initiatives keep Achebe’s legacy alive.

He also urged literary organizations and institutions to continue collaborating to sustain Achebe’s impact on African literature and culture.

“Prof. Achebe’s work transcends literature. He gave Africans a voice on the global stage, presenting our stories with authenticity and pride. Celebrating his 94th posthumous birthday is a reminder of the power of storytelling in shaping society,” Adedoyin stated.

The SYNW also used the opportunity to announce plans for a series of upcoming events dedicated to Achebe in the coming year, including essay competitions, poetry readings, and book discussions. These programs aim to further Achebe’s vision of nurturing literary talent and promoting African narratives.

As the literary community celebrates Achebe’s life and achievements, his timeless words resonate: “Until the lions have their own historians, the history of the hunt will always glorify the hunter.”

Achebe’s legacy continues to inspire writers to tell their own stories, preserving the richness of African culture for generations to come.

The Society of Young Nigerian Writers concluded by inviting literary enthusiasts to join in celebrating Achebe’s enduring impact, emphasizing that his legacy is a shared treasure for all who value the power of words.

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Literature

Oladokun and Odunlade Shine in ‘Te Oku’, A Mesmerizing Movie – A Literary Review

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By Tola Adeniyi
 
Ite Oku is a simple story but built into a very complex and complicated plot and catapulted over the roof by the ingenious interpretation of the characters by the star-studded cast assembled by producers Zentury Pictures and Sir Folly Film International.
 
It is the story of a very ambitious cab driver who is very much unsatisfied with his state in life and hastily seeks a get-rich-quick ladder to climb to opulence, prosperity and the attendant reckoning in society.
 
He fishes out a very wealthy woman and begs for money and fortune. Consequently the beautiful lady of high net-worth leads him to the mysterious abode of the dead where money rituals are performed and the huge wealth sought came in stupendous proportions.
 
Unknown to the greedy upstart, the beautiful lady belongs in the realm of the dead and she only assumes the body of the living for the sole purpose of dispensing largess to the needy as agreed upon by her husband in the grave! But with conditionality: whosoever becomes rich through her money rituals is bound by an irrevocable oath of chastity and barrenness throughout his or her life time. His or her spouse dwelling in the grave is wedded to him or her at the initiation of money rituals. Death, non-negotiable is the punishment for defaulters!
 
Fast forward, cab driver Aderoju acted by veteran Odunlade Adekola is courted by a bevy of ladies all over the community. These gold-digger dazzling ladies include Morenikeji acted by Yemisi Oke [who out of desperation enlists the supernatural powers of her mystical father], Layo played by Wunmi Toriola, Folake played by Ayisat Raji and Ajibike acted by Emiola Iyiola among others.
 
Full of suspense, viewers would not know how Yemisi, acted by vivacious legendary Bukky Wright emerges as the wealthy lady from the abode of the Dead, ‘Ite Oku’ or how Feyisara, acted by Temitope Adeniyi became Yemisi as the Dead living in the body of Yemisi acted by Bukky Wright. The knotty riddle becomes clearer when apprentice mechanic Femi, acted by multi-talented Murphy Afolabi is shown as the earthly fiancé of Feyisara [Temitope Adeniyi] who lost her life as a result of enforced abortion of the pregnancy she had for Femi by her upper-class parents who stoutly disapproved her relationship with apprentice Femi. Her untimely death provoked the unnatural death of Femi [Afolabi] and both then found themselves living happily together in the land of the Dead.
 
Femi had come by some fortune through money making rituals to counter his rejection by Feyisara’s parents. It’s this huge wealth he commands his dead fiancée Feyisara, in the body of Yemisi to go out to the land of the living and dispense to the needy where and how Aderoju falls into trap.
 
It is this entanglement that gives the plot its complexity and eerie weirdness and the experienced actors the opportunity to display their dexterity and super-star status in acting.
 
Long suffering widow, Mama Aderoju, magnificently portrayed by another legendary actor Tola Oladokun comes face-to-face with the heart-breaking realisation that her son, the only son, is a millionaire in cohort with money-making ritualists in the haven of the Dead. From that moment on, motherhood; emotional, harried, weeping, wailing and ecstatic, charges the atmosphere of the movie, garnering for Tola Oladokun the medal of the champion of the day. She is a delight.
 
But she is not alone. Bukky Wright, Murphy Afolabi and Yemisi Oke will not let go without creating dilemma for the viewers as to whom the ‘Victor Ludorum’ should go. 
Watching Bukky Wright with the ease of her acting and delivering of her lines one is tempted to believe they are having a natural conversation with the lady next door or a family member in a family setting. She is so natural and naturalistic. 
Odunlade Adekola is a man for all seasons and acting has become so natural that he is, in reality, the character he portrays. 
Murphy Afolabi couldn’t have acted a dead man in the grave better nor could Tola Oladokun be more convincing as an agonizing mother in the throes of a grown son with death sentence on his head.
 
The costumes, the lighting, the audio, and other acoustics contribute in no little measure to the greatness of the movie *Ite Oku* which makes it one of the most outstanding movies in recent times.
 
It is entertaining, educative, and instructive while its visuals are both thrilling, captivating and alluring. Nothing was spared in making Ite Oku a movie for all time.
 
It was a big relief that the writer of the story, Shonde Afolabi did not insult African spiritual essence like several writers of stories in Nollywood who often times would portray the Bible or the Quran as being superior or more potent or more efficacious or more edifying than our [Africa’s] own cherished and revered traditions, cultures, beliefs and mores. Every religion is a product of people’s culture and tradition.
 
Tola Oladokun, Odunlade Adekola, Bukky Wright and Murphy Afolabi, you make acting a pleasure!
 
High Chief Tola Adeniyi is an Actor, Dramatist, Playwright, Choreographer, Producer, Director and Chairman Tola Adeniyi Foundation for Theatre and the Arts [TAFTA]

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