Ijeuwa portrays vividly and sensitively the political, economic, social and religious disillusionments of an English graduate, an archetypal unemployed 21st century Nigerian graduate. The novel captures the traumatic travelogues of thousands of Nigerian graduates swarming the streets aimlessly engendered by the prevalent unemployment and the political system. Ijeuwa is a novel of disillusionment. It chronicles the plight of the Nigerian graduates and populace trapped in the tides of unemployment and insecurity. It creates a vivid portrait of their psychology. Ijeuwa is the travails of graduates and the unemployed in 21st century Nigeria. The novel portrays the spirit of struggle and the will to survive of the masses. The novel is a mirror of the society and a critique of Nigerian democracy. The novel portrays the Nigerian government as rotten to the teeth and grossly irresponsible as the masses suffer untold hardship and travails in a country immensely and richly endowed with natural and artificial resources. The writer envisions the neglect of the masses by the government as the prologue to anarchy in the society and the epilogue to security in all its ramifications. The novel is a sublime creation of the writers artistic ingenuity with a compelling theme and plot. It is the writers mirror of his society and time. The novel is an impressive and ardent attempt to capture the realism of the writers time.

Samuel Alozie Onyeche's 'Ijikrika; Canticles from Africa' is aged: like a Sage's counsels on life's mine-infested tuft. Thoughtful for our joys, Onyeche, like a Goldsmith, carefully and jealously laced his work with solar plexus-caressing mores and proverbs: Atones the silence of the duck fowl, teaching a great lesson to both the thievery eagle and chest-beating, effusive man. Chief Anthony Ndubuisi Abagha, Author of, 'The Children of Oloibiri' and twenty five other creative works in all genres, Nigeria. Samuel Alozie Onyeche is an English poet from Nigeria. The quality of his poetry is rarely found in contemporary poetry. You can simply call him an extraordinary poet. are As soon as the first page of his poetry is turned, the sweet fragrance of Africa begins to spread everywhere. Far-reaching primeval forests, eternal rains, million-year-old cave dwellings, colorful wildlife, sky-high mountains, earth-age lakes, ancient civilizations, breath-taking hunger and street-to-street violence. Dr. Jawaz Jafri: Winner of Human Rights National Ward And Frang Bordhi Prize.Professor of Literature at the College of Science Lahore (Pakistan) At first glance, I see Samual Alozie Onyeche to be very eloquent and well versed within the modern English Language. His variety in both complex and basic wording , accompanied with the importance of punctuation has and shall stand him in good stead. Stuart Dann.Poet. United Kingdom.

The Sins of Our Fore-Fathers: Atonement for Africa is a non-fiction that focuses on the culpability of the African chiefs and Kings of the obnoxious slave trade era. Slavery and slave trade are centuries old phenomenon but their aftermaths, however, still linger. This inhumane episodes have been told across spectrum of book, including reparation debates but non has approached it the way this book does. The Sins of Our Fore-Fathers: Atonement for Africa seeks to answer the questions; Did Africa commit a crime by taking part in the slavery and slave trade? Is Africa cursed as a result? The Sins of Our Fore-Fathers: Atonement for Africa offers a spiritual approach to the long standing problems of the slavery and slave trade. Africa , as everyone knows witnessed much atrocities committed by all the players and has been suffering from the tragic consequences ever since. This book seeks a redress.

The book, Plays One: Adaugo, Daring Destiny, Giddy Festival, The Dawn of Full Moon and Withered Thrust, is a compilation of plays by an African female Playwright, Osita Catherine Ezenwanebe Ph. D, an Associate Professor of dramatic Arts, University of Lagos Nigeria, a Visiting Professor and Fulbright Scholar-in-Residence, Winston-Salem State University, North Carolina, USA. It is aimed at making the plays available to her foreign audience who learnt of the plays during her scholarly activities as a Senior Fulbright Visiting Professor in United States of America. The plays are African Total Theatre, a functional and multidimensional view of theatre employing mime, songs, dances, chants, rituals, dialogue, etc. to drive home the message. The plays cover her though about the symbiotic relationship between drama and society and capture the social upheavals in Africa and modern world in general. Her perspective is humanist with a special concern for women and youth. Withered Thrust (2007) captures the pervasiveness of corruption; a social epidemic in which the oppressed employ anarchic ways of survival and social crusaders are infested with the same contagion as those they avowedly oppose, making the future look very bleak. Giddy Festival (2009) extends the theme of social rot and moral decay by focusing on the moral bankruptcy of the ruling class and its consequent atrophy of spirit: the politicians are giddy in merriment, full of empty rhetoric, egotistic, morally perverse, ideologically bankrupt and administratively incompetent; the suffering masses adopt anarchic indifference as a shield, and the law is made to look as an ass, resulting in a high disregard of the dignity of the human person. The drum beats, heralding the joyous moment of the power bloc; simultaneously, disjointed bones are fall-offs from the drum beat of their merriment. What a giddy festival! The Dawn of Full Moon (2009) brings a light of hope in the state of woman in many societies of the world where they still labor under the yoke of oppression. The play celebrates the sanctity of womanhood by dramatizing the dark days of a helpless, less privileged teenage girl and her victorious triumph when she blossoms like the dazzling brightness of full moon; strong, forceful and irresistible. It is a play deliberately meant to instill hope and confidence in women and youths. The Dawn of Full Moon also recreates the revolutionary love necessary for sustaining communal ties and gender complementarity. 2. In Adaugo (2011) the playwright deconstructs the suppressive oppression of women embedded in the rigidity of traditional social roles of male breadwinning and female home keeping in modern world and presents it as a major source of crisis in gender relation. By making the female protagonist, Adaugo, excel in both roles at a time her husband could not perform his due to circumstances beyond his control, the playwright celebrates the strength of women and calls for a change in the conception of masculinity in the face of modern experiences. In all, the play upholds the complementarity of the sexes which the playwright sees as imperative for traditional family and communal life. 3. Daring Destiny is a play that advocates Spartan courage and tenacity of purpose as the surest means of achieving a desirable destiny. It dramatizes the fate of the youth in a state where years of misrule has given way to anarchy. Mindless politicians and vicious capitalists cripple the people to penury and turn the youth into expendable cannon folders thereby setting up frightening destiny as their future. The youth are urged to dare such destiny and never give in to despair.

An idyllic life doesn't seem in reach for the ambitious yet naive Nkechi. After receiving her high school certificate, Nkechi moves in with her uncle in Lagos, the most populous and prosperous city in Nigeria, so she can provide for her parents to send her younger siblings to school. Besides an evil aunt forcing Nkechi to play as maid, this true account of a young woman's fight against the sinful distractions of the world quickly falls short of a fairy tale. Without bribes on an insider's hand, Lagos is the land of the unemployed. Nkechi prays God will release her family from poverty, but as three years pass without a better outlook, she decides to take the crooked path to a new goda "money. When Stella, a long lost friend, pulls alongside her in a Mercedes one fateful day, Nkechi decides she too can have the life of a rich man without having to become the 'bride prize for the village dullard.' But Lagos lies in the expensive shadows of sin, exposing and selling its youthful talents for quick cash and easy fixes. Stella mentors Nkechi into her parallel universe of prospering business woman by day and high-end call girl by night. Prostitution gives Nkechi the life few men have in Lagos with the assurance of her family's comfort and education. But this newfound source of power and riches comes with a heavy price as her conscience slowly calls her out. With the late arrival of Terrie, a young drug trafficker wanting out of the business, sparking love rather than lust, Nkechi begins searching her heart to see if she can let anyone into the mess she has created of her life."

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