Saturday, January 7, 2012
Monday, March 8, 2010
ఊఊఏఊఏ, మై డార్లి హోం (రచిఎల్ అకుబ)
Travelling from Onitsha to Owerri,
or from Owerri to Onitsha,
what will you see?
'o course, a small rich town,
near the Njaba Riv'r;
'o course, my darly home, Awo-Omamma;
Awo-Omamma, the daught'r o' Awo-Idemili,
where my people originally migrat'd from,
searching for a drink o' wat'r, as we're told.
O' Umuezukwe, my love,
heark'n to what my people,
some o' Your fruits call You,
refusing to return to Your pamp'ring hands,
fearing Your warm'st embrace!
They, including my broth'r Rachiel Akuba,
say You're black,
bewitching Your own fruits;
they say You're wierd,
harbouring the Afo, our Great Shrine,
barricading Your fruits' fortune,
as our Christian brethr'n make us believe;
they also call You a monkey-surrounded village,
just 'cos our aged customs claim
that we each have a fair share o' these monkeys,
symbolizing us, Your our fruits!
You, who the spirit o' an ancient woman protects,
I idolize You!
You fill'd with honey o' Canaan,
when the foreign oil-tapst'r had Your body drill'd.
I hail You!
You, whose Oguta Lake runs thro',
giving Your fruits a stream to drink from,
I, your prodigal son, salute Your Magesty,
among the oth'r twelve daught'rs o' Your moth'r!
True, You'r homing the Afo Shrine,
Your ancient monkeys are but a good tourist sight,
uplifting Your economy and employing Your fruits,
when the day shall arrive!
O' Great Afo Shrine, how that Your chief priest
like the Great Priest o' Heav'n,
collecting no bribe, and fair to all that call!
Alas, o' alas, o' my love,
for Your fruits are black,
I mean some are bewitching,
scaring away their own kin;
o' that they really love one anoth'r!
O' Moth'r, there're no moth'r
anywhere without a bad egg!
But I see a prophecy comes near,
a good one indeed to be welcomed,
though I know not what it's all about!
Now, I lie in Your warm'st, waiting
for Your Muse,
when my pens shall echoe
Your young still voice to the whole world to behold!
or from Owerri to Onitsha,
what will you see?
'o course, a small rich town,
near the Njaba Riv'r;
'o course, my darly home, Awo-Omamma;
Awo-Omamma, the daught'r o' Awo-Idemili,
where my people originally migrat'd from,
searching for a drink o' wat'r, as we're told.
O' Umuezukwe, my love,
heark'n to what my people,
some o' Your fruits call You,
refusing to return to Your pamp'ring hands,
fearing Your warm'st embrace!
They, including my broth'r Rachiel Akuba,
say You're black,
bewitching Your own fruits;
they say You're wierd,
harbouring the Afo, our Great Shrine,
barricading Your fruits' fortune,
as our Christian brethr'n make us believe;
they also call You a monkey-surrounded village,
just 'cos our aged customs claim
that we each have a fair share o' these monkeys,
symbolizing us, Your our fruits!
You, who the spirit o' an ancient woman protects,
I idolize You!
You fill'd with honey o' Canaan,
when the foreign oil-tapst'r had Your body drill'd.
I hail You!
You, whose Oguta Lake runs thro',
giving Your fruits a stream to drink from,
I, your prodigal son, salute Your Magesty,
among the oth'r twelve daught'rs o' Your moth'r!
True, You'r homing the Afo Shrine,
Your ancient monkeys are but a good tourist sight,
uplifting Your economy and employing Your fruits,
when the day shall arrive!
O' Great Afo Shrine, how that Your chief priest
like the Great Priest o' Heav'n,
collecting no bribe, and fair to all that call!
Alas, o' alas, o' my love,
for Your fruits are black,
I mean some are bewitching,
scaring away their own kin;
o' that they really love one anoth'r!
O' Moth'r, there're no moth'r
anywhere without a bad egg!
But I see a prophecy comes near,
a good one indeed to be welcomed,
though I know not what it's all about!
Now, I lie in Your warm'st, waiting
for Your Muse,
when my pens shall echoe
Your young still voice to the whole world to behold!
Saturday, February 27, 2010
వే ముస్త్ బె ఇన్ పెఅసే అండ్ నాట్ ఇన్ PIECES
In peace we’re born,
in peace we must return.
So, let’s grant liberty to all,
let our siblings, our fore-related siblings, live,
let’s bury our machetes and swords in a peace hole,
let’s bury our guns and live,
and so again roll ourselves as one people,
that we may live free for oth’rs!
in peace we must return.
So, let’s grant liberty to all,
let our siblings, our fore-related siblings, live,
let’s bury our machetes and swords in a peace hole,
let’s bury our guns and live,
and so again roll ourselves as one people,
that we may live free for oth’rs!
I HAVE TRAVERS'D ALL
I’ve toil’d all ov’r the earth,
looking for the real equality;
I find none but inequality.
I have also labour’d for it to come to its fullest;
lo, what I see is perpetual corruption!
That makes me ask:
‘Is folly plac’d in all high places?’
But my humble self replies:
‘No, that must be a mistake.’
Now, I’m optimistic for man’s rights –
I’m sure they will come in our generation.
looking for the real equality;
I find none but inequality.
I have also labour’d for it to come to its fullest;
lo, what I see is perpetual corruption!
That makes me ask:
‘Is folly plac’d in all high places?’
But my humble self replies:
‘No, that must be a mistake.’
Now, I’m optimistic for man’s rights –
I’m sure they will come in our generation.
Friday, February 26, 2010
పెన్స్ అండ్ PERSUASSIONS
Clamping us in iron-rod-wick’d chains;
chains, piercing pieces our flesh and bones;
chains, holding us in the hail hell of bondage,
refusing us our long-lov’d freedom,
which now have to come thro’ pens and persuasion,
for that is our only light for freedom
without which we forev’r live in Egypt in chain.
chains, piercing pieces our flesh and bones;
chains, holding us in the hail hell of bondage,
refusing us our long-lov’d freedom,
which now have to come thro’ pens and persuasion,
for that is our only light for freedom
without which we forev’r live in Egypt in chain.
ఎస్సీ ఆన్ ది హిస్టరీ అండ్ క్రితిసిస్మ్స్ అఫ్ ది SONNET
The sonnet has a long period of history in its development, form, style and theme. The term sonnet is believed to have originated from an Italian and sonnetto, which also has its origin from the Old Provencan term sonet. The latter is in turn said to have developed from a Latin word sonus or son, meaning a little or short tune or song (usually about love).
The sonnet is however noted to have been composed first as an avenue to find a perfect form or style for writing or expressing one’s feelings. In that, the first sonnet was written by Giacomo da Lentini of Italy in 1200’s, whose form and style are similar to the one by Petrarch at a latter period. After Giacomo da Lentini came a Tuscan poet, Guittone d’Arezzo, who composed at least 300 sonnets of his own between 1235 and 1294. However, the sonnet came to be a hot cake in Italy , when Francisco Petrarca (Petrarch in English) started writing his in 1300’s. He wrote 312 sonnets, and thus was credited to be the greatest Italian sonneteer, though he might seem to have borrowed the form and style earlier on invented by Giacomo. Both Giacomo’s and Petrarcha’s sonnets have the octet, rhyming abab abab (later abba abba) and the sestet rhyming variantly in cde cde, cdc dcd cce dde or cde cde. The Italian or Petrachan sonnet was iambic hexameter or Alexandrine metrical outline common in Italy and French then. The sonnet presents a proposition (or a problem) in the octet (also the first stanza) while in the sestet (also the second stanza) suggests an explanation (or a solution). In contrast, the sonnet landed in England from Italy through the efforts of Sir Thomas Wyatt and Thomas Howard, Earl of Surrey (who became the first to develop the blank verse in his poetry). The duo did not deviate from the style and form as developed by the Italian Sonneteers but only that their sonnets were expressed in English. But in the late 1500’s and the start of 1600’s, the English sonnet developed a new style, form and theme of writing as different from its Italian counterpart. William Shakespeare was the greatest of the English Sonneteers, having written 154 sonnets, though he was regarded as a charlatan in his own time. However, the Shakespearean sonnet, credited in honor of its heroic writer, has many themes other than love, as seen in the Italian sonnet. Shakespeare was the first English sonneteer to have employed this pattern. During the Elizabethan period or perhaps in the Renaissance time in England , the English sonnet reached its apogee in that all sonnets written during the period were classed as the Elizabethan/English Renaissance sonnet. Many English sonneteers emerged. Notable among them were William Shakespeare, John Milton, John Donne and Edmund Spenser. The last three sonneteers had their peculiar styles: Milton developed a meditative style; Donne employed a religious theme while Spenser used an inter-stanza abab babc cdcd ee unlike the Shakespearean one, whose rhyme pattern has abab cdcd efef gg. The Spenserian sonnet, apart from having three quatrains and a couplet, it also combine the Italian sonnet pattern of proposing a problem in the quatrains while explaining or solving it in the couplet. Generally speaking, however, the English sonnet has three quatrains and a (rhyming or heroic) couplet. The couplet presents a volta, that is, a u-turn in tone, style or theme.
The sonnet is however a lyrical fourteen line, patterned according to some strict rules. This view on the sonnet is classical, traditional and thus, popular among the English/Shakespearean and the Italian/Petrarchan sonneteers as history has shown. These two famous classical or traditional sonnets vary greatest according to style, form and theme. However, modern and contemporary sonneteers in the like of Gerard Manley Hopkin, William B. Yeats, Robert Frost and E.E. Lummings combine two basic forms (the English and the Italian sonnet) to suit the poetic traditions. For instance, I can say that Frost’s Acquainted with the Night has four tercets (instead of the normal three quatrains) and a rhyming couplet, patterned according to aba, cdc, efe, fgf, ii of five stanzas, it is also written in terza rima, meaning a rhyme pattern that commonly suggests a continual progression. Frost is also famous for writing fifteen line sonnets. The sonnet, to me, in our contemporary times is any fourteen line poem which may or may not conform to any fixed pattern, notwithstanding. I do not preach that a sonnet should not have a decasyllabic or octasyllabic iambic/trochaic pentameter/hexameter as shown in the classical or in some modern days’ sonnets. But I am arguing that any fourteen Iine poem should be welcomed as a sonnet inasmuch as it brings out the linguistic system of any culture or the poetic choice of the writer. The English sonnet writers in the renaissance days varied their styles and themes when they found out that their language (English) system did not have enough rhyming words as could be seen in the Italian language. In the same way, Dennis Brutus’ The Sun on this Rubble is a fourteen live poem, and based on this new form abccddd efe ijaa, it is a sonnet. The poem centres on the theme of racial discrimination in the then apartheid South African society. This poem justifies my reason that every sonnet varies according to the poetic needs of the writer. Writing sonnet should be seen as a free (or if you like a fixed) method to express one’s emotional outbursts or physical experiences in a fourteen live form. And that is one reason why I wrote some sonnets in my unpublished works The Small Still Voice and Voice Within to justify my claim on the sonnet, even though my citics may seem to disagree with me on the basis that not all fourteen line poems are sonnets. Similarity, since today’s world is undergoing some progressive changes which give humans freedom to exploit heir creative abilities to help sustain the society meaningfully, a good measure should be given to the writing of a fourteen line poem as a sonnet to avoid making the form (the sonnet) going into extinction as it was during the restoration period. Finding rhyming words, at times, imposes restrictions on one’s free creative ability in writing a sonnet, and therefore, depriving one the right to express one’s poetic feelings in a form or style that suit oneself.
I conclude my view on the writing of sonnets by saying that if we think that every fourteen line poem MUST agree to any strict rule before it will be accepted a sonnet, therefore, we must stand upright to condemn the sonnets supposedly written by many English sonneteers who equally developed their own style of writing and did not follow the pattern as laid down by the Italian sonneteers who originated it.
Works for Further Reading :
1. Dennis Brutus’ The Sun on this Rubble in Nwachukwu-Agbada J. at el (2005), Exam Focus: Literature-in-English 2006-2010 for WASSCE. Ibadan : University Press PLC.
2. Robert DYanni (5th ed, 2002), Literature: Reading Fiction, Poetry and Drama. New York : McGraw-Hill Higher Education.
3. Krisc Ononukwe’s Voice Within (Unpublished poetry work)
4.__________ . The Small Still Voice (Unpublished poetry work)
5. Sonnet-Wikipedia,thefreeencyclopedia@en.wikipediaorg/wiki/sonnet
6. Longman Dictionary of Contemporary English (4th ed, 2007), Harlow Essex: Pearson Education Limited.
7. Obi Maduakor’s Five Modern African Poems: J.P. Clark, Kofi Awoonor, Dennis Brutus, Wole Soyinka and Leopold Senghor in Emmanuel Obiechina (1982). Literature for WAEC 1981-84. Nsukka: Okike Educational Supplement.
8. N.F. Inyama, John Donne’s Death Be Not Proud (Pp.88) in Emmanuel Obiechina (1982). Literature for WAEC 1981-84. Nsukka: Okike Educational Supplement.
The sonnet is however noted to have been composed first as an avenue to find a perfect form or style for writing or expressing one’s feelings. In that, the first sonnet was written by Giacomo da Lentini of Italy in 1200’s, whose form and style are similar to the one by Petrarch at a latter period. After Giacomo da Lentini came a Tuscan poet, Guittone d’Arezzo, who composed at least 300 sonnets of his own between 1235 and 1294. However, the sonnet came to be a hot cake in Italy , when Francisco Petrarca (Petrarch in English) started writing his in 1300’s. He wrote 312 sonnets, and thus was credited to be the greatest Italian sonneteer, though he might seem to have borrowed the form and style earlier on invented by Giacomo. Both Giacomo’s and Petrarcha’s sonnets have the octet, rhyming abab abab (later abba abba) and the sestet rhyming variantly in cde cde, cdc dcd cce dde or cde cde. The Italian or Petrachan sonnet was iambic hexameter or Alexandrine metrical outline common in Italy and French then. The sonnet presents a proposition (or a problem) in the octet (also the first stanza) while in the sestet (also the second stanza) suggests an explanation (or a solution). In contrast, the sonnet landed in England from Italy through the efforts of Sir Thomas Wyatt and Thomas Howard, Earl of Surrey (who became the first to develop the blank verse in his poetry). The duo did not deviate from the style and form as developed by the Italian Sonneteers but only that their sonnets were expressed in English. But in the late 1500’s and the start of 1600’s, the English sonnet developed a new style, form and theme of writing as different from its Italian counterpart. William Shakespeare was the greatest of the English Sonneteers, having written 154 sonnets, though he was regarded as a charlatan in his own time. However, the Shakespearean sonnet, credited in honor of its heroic writer, has many themes other than love, as seen in the Italian sonnet. Shakespeare was the first English sonneteer to have employed this pattern. During the Elizabethan period or perhaps in the Renaissance time in England , the English sonnet reached its apogee in that all sonnets written during the period were classed as the Elizabethan/English Renaissance sonnet. Many English sonneteers emerged. Notable among them were William Shakespeare, John Milton, John Donne and Edmund Spenser. The last three sonneteers had their peculiar styles: Milton developed a meditative style; Donne employed a religious theme while Spenser used an inter-stanza abab babc cdcd ee unlike the Shakespearean one, whose rhyme pattern has abab cdcd efef gg. The Spenserian sonnet, apart from having three quatrains and a couplet, it also combine the Italian sonnet pattern of proposing a problem in the quatrains while explaining or solving it in the couplet. Generally speaking, however, the English sonnet has three quatrains and a (rhyming or heroic) couplet. The couplet presents a volta, that is, a u-turn in tone, style or theme.
The sonnet is however a lyrical fourteen line, patterned according to some strict rules. This view on the sonnet is classical, traditional and thus, popular among the English/Shakespearean and the Italian/Petrarchan sonneteers as history has shown. These two famous classical or traditional sonnets vary greatest according to style, form and theme. However, modern and contemporary sonneteers in the like of Gerard Manley Hopkin, William B. Yeats, Robert Frost and E.E. Lummings combine two basic forms (the English and the Italian sonnet) to suit the poetic traditions. For instance, I can say that Frost’s Acquainted with the Night has four tercets (instead of the normal three quatrains) and a rhyming couplet, patterned according to aba, cdc, efe, fgf, ii of five stanzas, it is also written in terza rima, meaning a rhyme pattern that commonly suggests a continual progression. Frost is also famous for writing fifteen line sonnets. The sonnet, to me, in our contemporary times is any fourteen line poem which may or may not conform to any fixed pattern, notwithstanding. I do not preach that a sonnet should not have a decasyllabic or octasyllabic iambic/trochaic pentameter/hexameter as shown in the classical or in some modern days’ sonnets. But I am arguing that any fourteen Iine poem should be welcomed as a sonnet inasmuch as it brings out the linguistic system of any culture or the poetic choice of the writer. The English sonnet writers in the renaissance days varied their styles and themes when they found out that their language (English) system did not have enough rhyming words as could be seen in the Italian language. In the same way, Dennis Brutus’ The Sun on this Rubble is a fourteen live poem, and based on this new form abccddd efe ijaa, it is a sonnet. The poem centres on the theme of racial discrimination in the then apartheid South African society. This poem justifies my reason that every sonnet varies according to the poetic needs of the writer. Writing sonnet should be seen as a free (or if you like a fixed) method to express one’s emotional outbursts or physical experiences in a fourteen live form. And that is one reason why I wrote some sonnets in my unpublished works The Small Still Voice and Voice Within to justify my claim on the sonnet, even though my citics may seem to disagree with me on the basis that not all fourteen line poems are sonnets. Similarity, since today’s world is undergoing some progressive changes which give humans freedom to exploit heir creative abilities to help sustain the society meaningfully, a good measure should be given to the writing of a fourteen line poem as a sonnet to avoid making the form (the sonnet) going into extinction as it was during the restoration period. Finding rhyming words, at times, imposes restrictions on one’s free creative ability in writing a sonnet, and therefore, depriving one the right to express one’s poetic feelings in a form or style that suit oneself.
I conclude my view on the writing of sonnets by saying that if we think that every fourteen line poem MUST agree to any strict rule before it will be accepted a sonnet, therefore, we must stand upright to condemn the sonnets supposedly written by many English sonneteers who equally developed their own style of writing and did not follow the pattern as laid down by the Italian sonneteers who originated it.
Works for Further Reading :
1. Dennis Brutus’ The Sun on this Rubble in Nwachukwu-Agbada J. at el (2005), Exam Focus: Literature-in-English 2006-2010 for WASSCE. Ibadan : University Press PLC.
2. Robert DYanni (5th ed, 2002), Literature: Reading Fiction, Poetry and Drama. New York : McGraw-Hill Higher Education.
3. Krisc Ononukwe’s Voice Within (Unpublished poetry work)
4.__________ . The Small Still Voice (Unpublished poetry work)
5. Sonnet-Wikipedia,thefreeencyclopedia@en.wikipediaorg/wiki/sonnet
6. Longman Dictionary of Contemporary English (4th ed, 2007), Harlow Essex: Pearson Education Limited.
7. Obi Maduakor’s Five Modern African Poems: J.P. Clark, Kofi Awoonor, Dennis Brutus, Wole Soyinka and Leopold Senghor in Emmanuel Obiechina (1982). Literature for WAEC 1981-84. Nsukka: Okike Educational Supplement.
8. N.F. Inyama, John Donne’s Death Be Not Proud (Pp.88) in Emmanuel Obiechina (1982). Literature for WAEC 1981-84. Nsukka: Okike Educational Supplement.
ది డాగ్ IN ది MANGER
Standing like an iroko tree
on that high, high hill,
peeping thro’ to spy on that monst’r,
sucking and tearing blood and flesh
like a hungry and angry lion,
eating to glory himself for the lost battle.
on that high, high hill,
peeping thro’ to spy on that monst’r,
sucking and tearing blood and flesh
like a hungry and angry lion,
eating to glory himself for the lost battle.
Saturday, August 1, 2009
LIFE AND EXPERIENCE ऑफ़ ECHE ONONUKWE
LIFE AND BIRTH
Popularly known as Magikpluz (simply Magik), Eche Ononukwe Echezonam was born at Bariga, Lagos to the family of Ononukwe. He is a native of Umuezukwe of Awo-Omamma in Oru East Local Government Area of Imo state (Nigeria). His father., Boniface, died in 2005, when he (Krisc) was about to gain admission to the Bayelsa Science and Arts as a polytechnic student.
ACADEMIC DISPOSITION
Eche Ononukwe attented Abule Ayo Primary School, situated at Bariga. He exhibited extra-ordinary performance during his primary school days which lasted between 1990 and 1996. Although he was not among the school prefects, he enjoyed the privilege accrused to the position.
In 1996, when he gained entrance to Howell Memorial Grammar School, he took his studies so serious. This was so reflected in his performance in class that his classmates became interested in having him as a friend; Eche was so selective in his choice of friendship that he turned down the request of many as that might influence his personality negatively. Eche faced a serious financial set-back at his final year in the Junior Class to the extent that it affected his academic performance, although he managed to be promoted to the Senior Class; but still, his financial statue became worsened, and so he failed his promotion exam. His failure gingered him to work much harder for his studies. Eche got lots of experience and skills above any of his classmates. This drew much attention from all and sundry, especially his classmates and his teachers who became inquisitive to know more about him. His favourite then was mathematics and his mastery and success were attributed to his cousin, Uche John Gilbert Ileozor, who taught him the rules and application of the subject. Eche developed interest in English, when he was influenced by Shakespeare's ''Macbeth'', ''and ''Merchant of Venice''. Yet he preferred History to Literature or English. As a brilliant student, Eche the second Chief Block Prefect appointed by the missionary school, Bishop Howell Memorial Grammar School. He also made a tremodous effort in his studies so much so that he represented his school in debates, drama and quizzes. His last outing was a debate contest conducted by the NTA Channel 5, Lagos to which he could not qualify his school for the national one, having failed in the contest.
Owing to a financial crisis, Eche travelled to Onitsha to answer a call from his elder brother, Chinedu, who promised to help out. Eche his GCE O' level after a year stay with his brother. He also embarked on self-education in preparation for his pre-University admission. He had an encouraging score of 259 but failed to gain entrance to study Law at NAU. Out of frustration, he withdrew from education and went into trading to help himself in furthering his education at a due time. After two year, he registered as a CEP student at Namdi Azikiwe University ( NAU) Awka. He was also the course representative unopposed until he withdrew owing to financial difficulty. Eche's interest in full-time course in English Language and Literature made him to re-write the UME and so he scored 279.
CAREER AND INTERESTS
The ideas and philosophies of William Shakespeare, Nnamdi Azikiwe, Chinua Achebe , Joy Eyisi, St Augustine and St Thomas Acquinas had made lots of influence on the attitudes and personality of Eche. In turn, Eche has also influenced many, especially as a teacher.
WORKS WRITTEN
Having taught for many years in many secondary schools, and as a reseacher in Christian Religion, Government and Politics, History, Literature-in- English and English Language, Eche has written many works to his credit, some of which are '' Contemporary Government and Politics'', ''The Ancient Black Pot'', ''The Small Still Voice'', '' The Place of English Language in Nigeria'', 'etc.
Popularly known as Magikpluz (simply Magik), Eche Ononukwe Echezonam was born at Bariga, Lagos to the family of Ononukwe. He is a native of Umuezukwe of Awo-Omamma in Oru East Local Government Area of Imo state (Nigeria). His father., Boniface, died in 2005, when he (Krisc) was about to gain admission to the Bayelsa Science and Arts as a polytechnic student.
ACADEMIC DISPOSITION
Eche Ononukwe attented Abule Ayo Primary School, situated at Bariga. He exhibited extra-ordinary performance during his primary school days which lasted between 1990 and 1996. Although he was not among the school prefects, he enjoyed the privilege accrused to the position.
In 1996, when he gained entrance to Howell Memorial Grammar School, he took his studies so serious. This was so reflected in his performance in class that his classmates became interested in having him as a friend; Eche was so selective in his choice of friendship that he turned down the request of many as that might influence his personality negatively. Eche faced a serious financial set-back at his final year in the Junior Class to the extent that it affected his academic performance, although he managed to be promoted to the Senior Class; but still, his financial statue became worsened, and so he failed his promotion exam. His failure gingered him to work much harder for his studies. Eche got lots of experience and skills above any of his classmates. This drew much attention from all and sundry, especially his classmates and his teachers who became inquisitive to know more about him. His favourite then was mathematics and his mastery and success were attributed to his cousin, Uche John Gilbert Ileozor, who taught him the rules and application of the subject. Eche developed interest in English, when he was influenced by Shakespeare's ''Macbeth'', ''and ''Merchant of Venice''. Yet he preferred History to Literature or English. As a brilliant student, Eche the second Chief Block Prefect appointed by the missionary school, Bishop Howell Memorial Grammar School. He also made a tremodous effort in his studies so much so that he represented his school in debates, drama and quizzes. His last outing was a debate contest conducted by the NTA Channel 5, Lagos to which he could not qualify his school for the national one, having failed in the contest.
Owing to a financial crisis, Eche travelled to Onitsha to answer a call from his elder brother, Chinedu, who promised to help out. Eche his GCE O' level after a year stay with his brother. He also embarked on self-education in preparation for his pre-University admission. He had an encouraging score of 259 but failed to gain entrance to study Law at NAU. Out of frustration, he withdrew from education and went into trading to help himself in furthering his education at a due time. After two year, he registered as a CEP student at Namdi Azikiwe University ( NAU) Awka. He was also the course representative unopposed until he withdrew owing to financial difficulty. Eche's interest in full-time course in English Language and Literature made him to re-write the UME and so he scored 279.
CAREER AND INTERESTS
The ideas and philosophies of William Shakespeare, Nnamdi Azikiwe, Chinua Achebe , Joy Eyisi, St Augustine and St Thomas Acquinas had made lots of influence on the attitudes and personality of Eche. In turn, Eche has also influenced many, especially as a teacher.
WORKS WRITTEN
Having taught for many years in many secondary schools, and as a reseacher in Christian Religion, Government and Politics, History, Literature-in- English and English Language, Eche has written many works to his credit, some of which are '' Contemporary Government and Politics'', ''The Ancient Black Pot'', ''The Small Still Voice'', '' The Place of English Language in Nigeria'', 'etc.
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