Refine
Year of publication
Document Type
- Book (18)
Has Fulltext
- yes (18)
Is part of the Bibliography
- no (18)
Keywords
- Anthologie (1)
- Englisch (1)
- Kamerun (1)
- Lyrik (1)
Vestiges
(2013)
The poems in this collection are adequate, with great lines. The rhythm is stimulating to all the five senses thanks to the use of multiple images. A lot of imagery in Vestiges gives a picture of a war front after a ferocious battle. The objects, animals, and images in the poems disorient and lead the reader to focusing on putting flesh to the bones than just getting the juice of the poems... The rhythm more than anything else carries the reader through this chaotic tableau painted in Vestiges. In a way, this comes across as a substantiation of the poet's vision of our world and an explanation as to why he considers this collection as a skeleton; and precisely skeletons left by the ravages of war. Is the poet's world and ours a field of ruins and topsy-turvydom to which we are all blind? The answer is yours.
Toil and Delivery
(2010)
Bill NDI's Toil and Delivery can be as playful and loaded as the clues in a cryptic crossword puzzle, which is to say that they are marked by a strange, energetic hybridity. They occupy a dynamic space between nursery rhyme and visionary Romantic verse, between the colloquial and the archaic, between postmodernity and anachronism. They are local and global, political and personal, Western and non-Western. With experiences traversing both Africa and the West, Bill F. NDI is one of those poets who gives meaning to the word globalisation. He embraces poetry as a material act in a troubled world, with poetry's power conveyed with typical irony.
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.
Sing Love 101
(2011)
Sing Love 101 a collection of 101 love poems in which this wordsmith worth his words brings together the good, the bad and the ugly of human love experiences. The poems are glossed with the simplicity of a sweet gentle breeze that caresses the reader's heart like that blowing across his childhood rice fields in the summer. The poet highlights 'Love' as 'the Dream' none should let die.
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.
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.
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.
The forces of nature warranted that these two English speaking poets, linguists, translators cum academics and researchers be born in Ndop, Ngoketunjia Division, in the North West Region of Cameroon. The one is based in the USA and other in Australia. Disgusted by the rotten political clime in their country as well as the political stance of politician vis-à-vis the English speaking minority, these two poets in their poetry explore the ins and outs of the problems of existence, not only of the minority English speaking Cameroonian but those of minorities in a modern world with a push for globalization. To them art is not only a weapon for survival but one for resistance.
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.
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.