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My Brother, My Sister
(2012)
The fiery passion and epigrammatic terseness with which Loretta Burns re-enacts her experiences and observations as an African American woman in contemporary America reveal her as a poet of life who transcends the labels African American, feminist, and/or womanist. Her poetry captures moments and scenes of living that echo her impressions and intuitions of a world trapped between appearance and reality, illusion and disillusion, expectation and realization, the material and the spiritual. Through her deceptive simplicity of diction, she explores the nooks and crannies of her psyche as well as her society's. It is a poetry written from the depths of the heart that calls attention to the mystery and sacredness of the everyday. It therefore comes as no surprise that Loretta Burns and Bill F. Ndi, the Cameroonian-born poet with a fierce drive for global peace and the oneness of humanity, should collaborate on a collection of poems. With vibrancy and a sense of urgency, their lines evoke humanity's perpetual struggle for freedom and its search for meaning.
Elizabeth Stirredge's spiritual autobiography is a treasury of spiritual wisdom which paints all that which is needed to be a faithful servant of the Lord Jesus Christ and how God in His might works, transforms, and supports an ordinary soul to lead the life of extraordinary faithfulness. The text highlights Stirredge's intimate conviction as well as that of early Quakers. This translation is a welcomed venture because this is a central piece, deserving of much more attention than that which has been accorded to it until now.
One Eternal Sleep
(2015)
In this volume Bill F. Ndi portrays life, death, and dying as one great adventure through which one would explore the limitless bounds of Life. At its best, the collection echoes the words of anthropologist Francis B. Nyamnjoh when he underlines that, 'one is only dead to particular context as a way of making oneself alive to prospective new contexts.' Ndi in this collection invites the reader to learn the art of living through the art of dying and accepting death.
Pride Aside and Other Poems
(2016)
Pride Aside and Other Poems rattles the brain as it blurs thematic boundaries. Even though Bill F. Ndi's poems seem to clearly draw inspiration from everyday life, almost all the poems are structured as sonnets. Through the lines of the various poems in this collection, influences of poets from different schools of poetic creativity and streams of inspiration resonate. They bring to mind the metaphysical poets, the Romantics, the Symbolists, the Confessionalists, poets of the Beat Generation, Committed poetry, etc. As such reading the collection places the reader before a multifaceted and intriguing cultural document imbued with literary influences from Chaucer to W.B Yeats and beyond. However, their insight and the richness of their humanity transform the poems essentially into meditations on the soul of our civilization. This poetic work is vibrant and thought provoking.
From my friendships and loves are born the lines herein. My greatest desire is that we must learn to love to the best of our abilities and not better than the Best of our abilities. Requesting the latter would be demanding the impossible. For me, every heart is filled with goodness and love that only a positive posturing and channeling of their energies can warrant the transcendence of these terrestrial realities to flirt with their divine counterparts.
Barbed Forest
(2017)
In K?cracy, Trees in the Storm and Other Poems, Bill Ndi vociferously bemoans the fate of a world in which the good and the evil are intimate bedfellows; a world wherein miscreants proceed with nauseating impunity to trample on innocence. The poet, a widely traveled scholar in Africa, Europe, and the Americas, currently resides in Australia where he is hailed as an Ambassador of the Peace. Informed by his experience as a child of the world - being at home away from home and thinking of home, Bill Ndi serves the reader with a delicious platter of poetic maze which to him is synonymous to the political maze he has known around the world.
A literary monument erected by a poet for poets with a vision for poetry as a special annunciation and the poet as a seer, spokesperson, recorder, analyst, adjudicator and advocate with poetic vision and poetic understanding. Bill Ndi, the poet has the rare gift of slipping into the self and psyche of his society to empty the dark depths where the treasures of burden and sadness are hidden. He empties and exposes them to the world to see how even personal repression of feelings by far outweighs those imposed throughout History by tyrants. It is above all, his greatest task of filling these depths with the joys and expectations of the society. This objective stance by the poet places him above the fanatic whose subjectivity pushes the world adrift and makes of the poet a universal man of peace.
Soleil et ombre
(2010)
In this collection, Bill F. NDI resorts to more sagacious versification (rhyme constraints, alliterations and at times the alexandrine) in which appear marked influences of many a French poet. Some of his more audacious poems bring to mind Calligrams and typography of Appolinaire and Paul Éluard respectively.
? La vérité blesse ? ou encore ? la vérité est une pilule amère à avaler ? sont des adages depuis fort longtemps passés de mode. Cependant, dans La Logorrhée du poète ou lHistoire des Camerouns en 33 gouttelettes, le poète évoque et symbolise dune manière nouvelle et dune esthétique fascinante le mal-vivre de Southern Cameroons/Ambazonia avec ses frères/voisins de la République du Cameroun. Le premier ayant choisi (en 1961) la fédération avec la République du Cameroun qui nen voulut point au départ, sen veut et pour ce, cherche à défaire cette relation sans fondement ni base. Ce vouloir étant accueilli par une brutalité sanguinaire et féroce na laissé à ce poète engagé que le choix dexposer la laideur de la tyrannie, de la tuerie, de linsouciance, et de lhypocrisie de ceux sensés gouverner. Les sévices subis par le peuple du Southern Cameroons/Ambazonia semblent souligner la volonté du poète à faire valoir aux Ambazonians, leur droit de quête de liberté. Cette prise de position rappelle la perspective Sartrienne de lengagement littéraire. Bref, ce recueil est riche sur le plan esthétique et aussi historique de fond en comble.