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
809 Comments
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But its stock is in the gutter and sales have been falling for two years because of good ol’ business fundamentals. It overstocked. It lost the pulse of its customers. It went up against Amazon Prime with… actually, does anyone know what Target’s Amazon Prime competitor is called?
The brand we petite bourgeoisie once playfully referred to as Tar-zhay has lost its spark. The company reported a decline in sales for a third-straight quarter, part of a broader trend of falling or flat sales for two years. Employees have lost confidence in the company’s direction. And 2025 has been a particularly rough financially, as Black shoppers organized a boycott over Target’s decision to cave to right-wing pressure on diverse hiring goals.
Shares were down 10% Wednesday.
It’s not to say the new guy, Michael Fiddelke, is unqualified. He’s been at Target since he started as an intern more than 20 years ago, after all. But Wall Street is clearly concerned that Target’s leadership is underestimating the severity of the need for a significant change— just as President Donald Trump’s tariffs on imported goods threaten the entire retail industry.
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In its 2010s heyday, Target became a go-to for consumers who liked a bargain but didn’t necessarily like bargain-hunting. The shelves felt well-curated. You’d go to Target because it had one thing you needed and 12 things you didn’t know you needed. It was stocked with Millennial cringe long before Gen Z gave us the term Millennial cringe.
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Scott works full-time as an infectious disease physician at Stanford Health Care’s Tri-Valley hospital in Pleasanton, California. When he is done taking care of his patients and his two grade-school aged kids, he often stays up past midnight writing — furiously penning op-eds, collecting studies, leading evidence reviews and posting meaty threads on social media, most of them correcting the record on vaccines.
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The Covid-19 pandemic turned many infectious disease specialists and virologists into household names. Scott’s was not one of them, perhaps because he was too busy treating patients. He didn’t stay out of the public discourse completely, however. He was one of the first doctors to tell people that Omicron didn’t seem to be as severe an infection as earlier strains of the virus, although some virologists were skeptical at the time.
In President Donald Trump’s second administration, however, Scott is taking on what he sees as a second pandemic — misinformation and disinformation about vaccines. He knows false information can be as harmful as any virus.
“When officials spread inaccurate information about vaccines, it does have real consequences, and families make decisions based on fear rather than on facts,” Scott said.
It’s already happening. The US Centers for Disease Control and Prevention recently reported data showing kindergarten vaccination rates continue to decline, as states make it easier to opt out of school vaccination requirements. Vaccine preventable diseases like measles and whooping cough are rising again, too.
Scott knows it could get much worse.
“In 2021, nearly every single patient I lost to Covid was unvaccinated by choice, and every colleague of mine has said the same thing.”
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Ukrainian President Volodymyr Zelensky condemned Russian attacks on the Ukrainian regions of Kharkiv, Zaporizhzhia and Sumy on Monday, saying that the Kremlin intends to “humiliate diplomatic efforts” just hours before European leaders visit the White House.
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In June, Cracker Barrel posted an unusual earnings report for a restaurant: It’s taking a $5 million hit from tariffs because of its retail shops, which largely has products imported from overseas. Restaurant revenue and same-store sales both slightly grew, mirroring other increases casual dining chains are experiencing.
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Cracker Barrel’s modern makeover doesn’t stop with redoing its restaurants. It’s dropping the barrel and the man from its logo, too.
On Tuesday, the Southern-inspired casual dining chain unveiled a new logo “rooted even more closely to the iconic barrel shape,” but without the barrel itself — a central part of the brand’s identity since 1977. (As for the the barrel itself, it was “essentially the water coolers of the day,” Cracker Barrel explained in a blog post.)
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The identity refresh also includes new TV commercials, a redesigned menu and several new fall-themed foods, part of a larger $700 million transformation plan to shake off its stodgy image and lure in new diners.
“The way we communicate, the things on the menu, the way the stores look and feel … all of these things came up time and time again in our research as opportunities for us to really regain relevancy,” said CEO Julie Felss Masino in 2024.
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Cracker Barrel has also been remodeling some of its 660-plus restaurants. The chain has “decluttered” the interiors by removing the country-themed trinkets that lined the walls and lightened up the interiors, shifting away from the dark woods. So far, reaction has been mixed on social media, with some videos on TikTok going viral voicing their displeasure.
Masino remains adamant that the renovations are working, telling ABC News this week that “people like what we’re doing” and that feedback has been “overwhelmingly positive.”
In June, Cracker Barrel posted an unusual earnings report for a restaurant: It’s taking a $5 million hit from tariffs because of its retail shops, which largely has products imported from overseas. Restaurant revenue and same-store sales both slightly grew, mirroring other increases casual dining chains are experiencing.
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Cracker Barrel’s modern makeover doesn’t stop with redoing its restaurants. It’s dropping the barrel and the man from its logo, too.
On Tuesday, the Southern-inspired casual dining chain unveiled a new logo “rooted even more closely to the iconic barrel shape,” but without the barrel itself — a central part of the brand’s identity since 1977. (As for the the barrel itself, it was “essentially the water coolers of the day,” Cracker Barrel explained in a blog post.)
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The identity refresh also includes new TV commercials, a redesigned menu and several new fall-themed foods, part of a larger $700 million transformation plan to shake off its stodgy image and lure in new diners.
“The way we communicate, the things on the menu, the way the stores look and feel … all of these things came up time and time again in our research as opportunities for us to really regain relevancy,” said CEO Julie Felss Masino in 2024.
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In particular, the new logo is the latest in a string of changes angering some of its loyal fans who fear the 56-year-old chain is drifting too far from its bucolic roots. On social media, some users griped, with one writing that the “changing the logo just feels like another little piece of culture dying off.” The change also angered some conservatives, too, like President Donald Trump’s son.
Cracker Barrel has also been remodeling some of its 660-plus restaurants. The chain has “decluttered” the interiors by removing the country-themed trinkets that lined the walls and lightened up the interiors, shifting away from the dark woods. So far, reaction has been mixed on social media, with some videos on TikTok going viral voicing their displeasure.
Masino remains adamant that the renovations are working, telling ABC News this week that “people like what we’re doing” and that feedback has been “overwhelmingly positive.”
In June, Cracker Barrel posted an unusual earnings report for a restaurant: It’s taking a $5 million hit from tariffs because of its retail shops, which largely has products imported from overseas. Restaurant revenue and same-store sales both slightly grew, mirroring other increases casual dining chains are experiencing.