Chit-Chat, Poetics & Ethos
About the Interviewer
JOEL OYELEKE studies Literature in English at Obafemi Awolowo University, Ile-Ife. He is a poet, literary enthusiast, God addict, and curator of Poetry Village, OAU. Author of THE THEM IN ME (Direwords, 2022). Co-author of LET ME GRIEVE (ArtingArena Magazine, 2023). He has works published on IHRAF, Afrihill Press, Clean Ink Anthology (Ohio, 22), Panorama Review, Nigerian Review, Outlook India, Poemify, Synchronized Chaos, Daily Pointers, etc. He is currently the poetry and interview editor for ArtingArena Magazine.
About the Interviewee
ADESIYAN OLUWAPELUMI, TPC XI, is a young genre-bending creative who scribes from Ibadan, Nigeria. He is an Honourable Mention in the 2022 Coexist Lit International Metamorphosis Writing Contest, Winner of the Cheshire White Ribbon Day Creative Competition, & a shortlist in the August/September 2022 edition of the Brigitte Poirson Poetry Contest.
Chit-Chat, Poetics & Ethos
JOEL: Let me start by asking – who you are.
ADESIYAN: I am a student of Medicine and Surgery, a literary enthusiast, a creative writer, a
poetry editor & a Christian. I currently reside in Oyo state with my family. I hail from Osun State,
Nigeria. Lastly, I am a member of The Poetic Collective.
JOEL: What else is not on your bio – something very unique about you?
ADESIYAN: I enjoy listening to Nigerian music a lot, & bingeing on movies. My favourite Nigerian musicians are Johnny Drille & Brymo because of their soulful & poetic style of music. Another fun fact about me is that I am addicted to fresh tomatoes (laughs). Also, when I am not writing poems or studying science textbooks, I enjoy playing chess, & reading romance novels, so you could say I am a romantic.
JOEL: Romantic? Well, your wife would know the truth (laughs). When did you start writing and why poetry?
ADESIYAN: I could say I have been writing since I was seven years old but I think I became intentional in the year 2021. Before this, I was vested in writing short stories, & multiple novels (which I never really finished anyway). I remember I was in Junior Secondary Class Two when we were given an assignment in English class to write a poem on any subject matter of our choice. Before that, I had never written a poem. Never! But amazingly, when I submitted my assignment, my teacher was so impressed that he praised me a lot. To my surprise, he also showed the poem to several of his colleagues. This catalyzed my interest in poetry. Consequently, I began writing poems. I wrote and learned from some of the poets I could find in our recommended literature texts then, the likes of Williams Shakespeare (I can still remember so vividly how often I wrote sonnets during recess), Wole Soyinka, Christopher Okigbo, Kofi Awonoor, Ama At Aidoo, Niyi Osundare and several others.
As I grew up, I suffered an identity crisis in school resulting in me isolating myself from everyone, & having low self-esteem as a kid. I fought hard through depression & suicidal tendencies, & hardly even had any friends by the time I was in my senior classes. Thus, poetry became an ally, & consequently, a medium of therapy. Now, I write because it is my buckler against the onslaught of these internal conflicts of self-love, & self-discovery. I write to tell my story in ways that defy fear or societal constraint that terms introversion a social dysfunction. I write to heal, to mend, & to conquer.
JOEL: Who is your favourite poet?
ADESIYAN: To be truthful, it is pretty hard to pick a favourite poet because there are always several poets I admire for different reasons, & uniqueness in style. Internationally, my favourite poets are Ocean Vuong, Danusha Laméris, Kaveh Akbar, Louise Glück, Sylvia Plath, Hanif Abdurraqib and many others. My favorite Nigerian poet however will be Samuel Adeyemi because his book “Heaven is a Metaphor” was the first poetry collection that fascinated and revealed to me how much could be achieved with language. Sometimes, my reverence for his work influences mine, unconsciously. Some other Nigerian poets I admire are Adedayo Agarau, Gbenga Adesina, Gbenga Adeoba, Romeo Oriogun, Pamilerin Jacobs, Itiola Jones and a bevvy of others.
Joel: Samuel Adeyemi is one of those I also admire. Your taste is wonderful. You recently announced that your chapbook ETHOS has been scheduled for publication by Ukiyoto, UK. How did the idea begin?
ADESIYAN: I have always been an inquisitive & argumentative individual, especially when it comes to the subject of religion, & unbelief — something we perceive as a social dysfunction, & how societal principles and ideologies sometimes compromise our loyalty to aristocratic manipulation. Writing about such a topic thus demanded a great measure of self-control, distancing myself from what the society forces me to think, & painting an almost mirror-image of what is, without blemishing the truth. Oftentimes, my poetry is praised for its intimacy & honesty, but most of all, what I aim to achieve most is poetry that dares to exist even when it is about issues that the society has shrouded us from talking about / investigating the truth behind them. Say injustice. Say mental health. Say men sieged of atheism.
Constructing Ethos was hectic, & at a point, I wanted to give up on the collection. The idea for the collection came a year ago (without the title though). I dumped it afterwards because I was not in the right state of mind or skill set to write such demanding work. Ethos demanded a lot from me, particularly mentally. I remember the first poem “Miracles” came about five months after the conception idea, & days, weeks, & months later I played around with lines (jotting down words, lines and complete stanzas for a poem jumping into my head), I read several essays on theology, arguments, in fact at some point I began to read Greek mythology which was the genesis of some poems: “Lucent Dreaming” & “Sappho” in the forthcoming book. I investigated existential nihilism, & it wasn’t until I had written the last poem in the collection forthcoming from Ninshar Arts “A Life by Death” that I knew for sure the book had ended. Perhaps, not decisively ended because even after I sent the book out for publication, I still felt a considerable amount of incompleteness. During the editing stage, I had to let go of some poems because of thematic correlation. It took eight months to complete “Ethos”.
Joel: Wow. That seems like a long ride. Did you read any work to help with inspiration?
ADESIYAN: Yes, I did. A lot. One book I held closely to me during this process was Kaveh Akbar’s Pilgrim Bells because of its eclectic ideology on religion, & human conduct. Romeo Oriogun’s Sacraments of Bodies also complemented in shaping the voice of poems in this collection.
Joel: What do you intend to achieve with Ethos?
ADESIYAN: Hopefully, continue to tell my undiluted stories, our untold stories through the vehicle of language & make poetry largely accessible to everyone. I am aware of the notion most people have that poetry is a tedious genre of literature to read & comprehend. However, I believe this to be false. It just means the reader hasn’t dived into the poem enough to the point where the poet wants him or her to crack the meaning/subject of the poem, something I tweeted about some weeks ago on Twitter. Poetry should be a medium of transmission of cultures, values, knowledge & memories, a necessary mechanism in journeying the message of a poem to a reader’s mind. As T.S Eliot once said, “Genuine poetry can communicate before it is understood”, Poetry, I believe is a magnification of the deep, abstract feelings which make up the substratum of our being, for without which our lives will be an artless existence, the undiluted expression of man’s freedom from constraining emotion itself, our elastic imagination as said by the prestigious Vietnamese poet, Ocean Vuong is “the oldest form of technology.” Poetry is man’s he(art).
Joel: I love the paronomasia at the end (laughs). Where do you see Nigerian poetry ten years from now?
ADESIYAN: I see Nigerian poetry flourishing to bigger stages, making waves, more poetry books, a larger poetry readership base, & most of all, more governmental investments / NGOs involvement in raising young and talented creatives. I see budding poets taking the mantle of old masters and treading the path for a new legacy. I see Nigerian poetry making unthinkable accomplishments. I see Nigerian poetry making its hallmark on the world’s map.
Joel: Amen. What is your advice for younger poets?
ADESIYAN: Read. Read. Read. Write. Read. Read. Read. Write. Also, always aim to improve as a creative, & take active participation in the accommodating literary community. And don’t forget that the output of your craft is how much work and dedication you put into it.
Joel: Lastly, do you have any other forthcoming projects?
ADESIYAN: Currently, I have another poetry chapbook in the oven. It is a documentation of the human experience from the universal pronoun “we” – navigating through contrasting elements of joy & despair, vulnerability & resilience in creating a multi-layered exploration of human travails. A clustered work on displacement from the self to the general, it seems. So far the collection is coming together, chaotically, & hopefully, it will make its way to the outside world sCopy
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The moon goes by many names. August saw the full sturgeon moon while in March sky-gazers may have witnessed the blood moon, which occurs when the satellite appears to turn red during a lunar eclipse. You may have also heard of a blue moon, the second full moon to happen in one month.
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And then there is the black moon, occurring this weekend, which is rare — and invisible.
This phenomenon will occur Friday night into the early hours of Saturday. The moon will be closest to the sun at 2:06 a.m. ET Saturday, according to EarthSky.
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What is a black moon?
Like a blue moon, a black moon isn’t an official term, but it refers to the second new moon in a month. It happens once every 29 months.
A new moon occurs when only its far side is illuminated by the sun, making it invisible from Earth. It marks the beginning of the lunar cycle.
“A black moon (or new moon) is when the moon is basically in between the Earth and the sun, not to make an eclipse, but where we don’t see the moon,” said Noah Petro, chief of NASA’s Planetary, Geology, Geophysics and Geochemistry Laboratory at Goddard Space Flight Center in Greenbelt, Maryland.
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GeorgeVog · 31/08/2025 at 4:34 pm
The Justice Department on Friday released the long-awaited transcripts of a weeks-old interview it conducted with convicted Jeffrey Epstein associate Ghislaine Maxwell.
The Maxwell interview was one of two steps the White House took to try and quell outrage over its handling of the Epstein files, which has rocked the administration for weeks and caused even many supporters of President Donald Trump to balk.
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Attorney General Pam Bondi and other officials had built up anticipation for the Epstein documents before pulling back on promises to release them. Trump has also made a series of false and misleading claims that have caused Epstein’s victims to suggest a cover-up.
The administration’s other big move – asking to unseal grand jury testimony – hasn’t amounted to much. In fact, two judges have suggested it was a “diversion” intended to look transparent without actually being so.
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The Maxwell interview conducted by Deputy Attorney General Todd Blanche, likewise, doesn’t add much to the public knowledge of Epstein. But there are some key points worth running through – particularly in the broader context of the administration’s botched handling of the matter.
Here’s what to know from the transcript:
Maxwell isn’t coming clean, which undercut the exercise
The Maxwell interview is the administration’s first significant release of information since its effort to close the matter blew up in its face last month.
(Also on Friday, it sent Epstein documents to a House committee that had demanded them, but those aren’t public yet.)
But it was always a weird choice, given Maxwell is a convicted sex offender and her appeals are ongoing. The Justice Department in Trump’s first term also labeled her a brazen liar. What could she possibly add of value?
Not a whole lot, it seems.
Related article
This undated trial evidence image obtained December 8, 2021, from the US District Court for the Southern District of New York shows British socialite Ghislaine Maxwell, right, and US financier Jeffrey Epstein, left.
READ: Transcript of the Justice Department’s interview with Ghislaine Maxwell
The big headlines are that Maxwell doesn’t implicate anybody – including Trump – in any wrongdoing and says Epstein didn’t have a client list. But those statements might carry more weight if Maxwell came clean about her and Epstein’s own misdeeds.
She clearly didn’t do that. In fact, she repeatedly cast doubt on them, too.
She denied that Epstein paid her millions of dollars to recruit young women for him. She denied witnessing any nonconsensual sex acts. And she denied seeing anything “inappropriate” from “any man” – seemingly including Epstein.
“I never, ever saw any man doing something inappropriate with a woman of any age,” Maxwell said. “I never saw inappropriate habits.”
Some other Maxwell responses also call her credibility into question.
In another instance, Maxwell claimed Epstein didn’t have “inappropriate” cameras inside his New York, Caribbean, New Mexico and Paris residences. Cameras in his Palm Beach, Florida, house were used because money was being stolen. But Epstein’s seven-story townhouse in Manhattan was outfitted with cameras, the New York Times reported earlier this month. Several of Epstein’s victims have cited a network of hidden cameras.
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