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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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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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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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.
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Orlando Mayor Buddy Dyer said he was “devastated” by the removal of the Pulse memorial crosswalk.
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The crosswalk was installed by the state in 2017 and adheres to national safety standards, Dyer added. The colorful crosswalk added visibility, making it safer for the large number of visitors to the memorial, he said.
CNN has reached out to the Florida Department of Transportation for comment.
Related article
rainbow pulse memorial
A rainbow rose over the Pulse nightclub memorial on the fifth anniversary of the mass shooting at the Orlando venue
The removal comes only two months after the city marked the nine-year anniversary of the Pulse tragedy. On June 12, 2016, a gunman opened fire at the popular gay nightclub, making it the worst mass shooting in modern US history at the time.
In a photo from 2021, the crosswalk painted in Pride colors in front of the of the onePULSE Foundation’s Pulse Interim Memorial, honoring victims of the nightclub shooting.
In a photo from 2021, the crosswalk painted in Pride colors in front of the of the onePULSE Foundation’s Pulse Interim Memorial, honoring victims of the nightclub shooting. Phelan M. Ebenhack/AP/File
The removal also comes during campaigns by the state and Trump administration to paint over “asphalt art,” including rainbow crosswalks. The dual directives are calling this a safety measure to make roads easier to navigate without distractions.
In June, the Florida Department of Transportation issued a memo prohibiting crosswalk markings and pavement surface art “associated with social, political, or ideological messages or images and does not serve the purpose of traffic control.”
The following month, US Transportation Secretary Sean Duffy sent a letter to governors of all 50 states saying intersections and crosswalks should be “kept free from distractions.”
“Taxpayers expect their dollars to fund safe streets, not rainbow crosswalks,” Duffy said about the letter in an X post on July 1. “Political banners have no place on public roads. I’m reminding recipients of USDOT roadway funding that it’s limited to features advancing safety, and nothing else.”
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