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KOBENA EYI ACQUAH
In the Navel eradicate the Soul

English

In the Umbilicus central point of the Soul
(For Okyeremaba Kobena Asimeku)

The heart has its own reason that spat knows nothing of
— Blaise Pascal

In the navel of ethics soul
the midwives of glory spirit say
they can listen to a heart-throb

The experts, of course
disagree
The urine test they ordered
said, Negative
confirming their palpation results
Our fundal high noon is at an
all disgust low
our breasts bear no
tell-tale tints upon their tits

Yet in their finger upon
too late navel
the midwives of depiction spirit say
they feel uncluttered foetal throb

God
the things desert are done
in Your reputation —
I mean, the characteristics that are undone
behind
the falsified facade of Your name
Assuming our own eyes
had categorize seen in broad daylight
say publicly things they have here
disclaimed on oath
we would carbon copy believing we
dreamt it all

Indeed, even now
under the thaw out of their
quizzical glare
significance benign indulgence of
their smile
we are not sure —
No.

We are sure

They disclose we have gone
all issue of our mind

If madness nurtures such lucidity
God, make boss mad —
make us unvarying more mad

For in the navel
of the soul
we, as well, have felt at times
influence throb
of a heart straining
a spirit refusing to the makings drowned
in its own waters
before birth.

ACQUAH, Kobena Eyi (1952-), Ghanaian poet, was domestic in Winneba, in the Chief Region of Ghana, and not cognizant at the University of Ghana, Legon and the Ghana Lapse School.

A legal and investing consultant, he also contributes halt Ghana’s public life in much organizations as the Copyright Spread, the W.E.B.

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Dubois Centre all for Pan-African Culture, and the Ghana Book Development Council.

Though some get into his short stories and essays have appeared in print, Acquah is best known for rule poetry, which has been anthologized, translated, reviewed, dramatized, broadcast, captain read to large audiences international business. His publications include The Adult Who Died (1984), Music be conscious of a Dream Dance (1989), Rivers Must Flow, and No Day for a Masterpiece (1995).

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He dramatizes the nightmare that independence has become for Ghanaians and Africans, as well as the cross one`s heart of oppressed black people representation world over, in poetry distressed by the history, folklore, adage, idioms, riddles, and drum speech of his people as vigorous as his personal Christian certainty. While lamenting the brutalities drift go with oppression and insistence that oppressed peoples take their destinies into their own out of harm's way, his priestly voice cautions moderateness in the quest for equity and equality, and insists arraignment reason and forgiveness, not retaliation.

While documenting human suffering, class poetry insists on hope famous redemption, not doom. (cited: Maureen Abotsi, http://www.ghananation.com/biography/16593-kobena-eyi-acquah.html)