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BN Book Review: Little Words by Amife Sabatina | Review by Roseline Mgbodichimma
Little Words reads like an honest cathedral of letters, where human emotions are assembled. Reading this book is a journey.
The ability to bend language to capture feeling is an art Amife masters in her book “Little Words”. This hybrid collection of poetry and prose revels in truth, beauty, nostalgia and melancholy. There are eleven chapters in the book, each chapter categorised to show phases of the author’s life. Little Words reads like an honest cathedral of letters, where human emotions are assembled. Amifeâs words serve as a comforting presence, pausing to share in collective uncertainties or pain, to say, me too, in a deeply healing way. Amife is simply a writer who charts through the delicate and the unspoken in very seamless methods. As if the reading of âLittle Wordsâ wasn’t already smooth enough, the author shares a list of songs she listened to, on repeat while writing the book. From M83, To Aurora, To Lana Del Rey, there is a sound for every chapter. Each page of poetry and prose in this collection is an interrogation of a feeling, an exploration of a familiar emotion, a lived experience, or a thought.
The illustrations in âLittle Wordsâ are so well done. To understand the dichotomies of youth and old age, there is an illustration of two hands clasped together in the poem ‘My Grandmother’s Hands.’ To properly visualise aloneness and the seclusion of self, the illustration of a girl facing the moon in the poem ‘Solitude’ paints a vivid picture. Spiral lines are illustrated to depict our unending search for happiness as humans and so much more. Little Words is layered with subtle, implied and outright meanings. The prose is honest and written in a way that is unashamed and embraces flaws and uncertainties.
The bookâs first chapter, Childhood, begins with âBorn,â a prose piece that acknowledges mortality. There is an illustration of a door that very quickly shows that the world we live in is simply a passage and that to be born is also to be prepared to die. âThe Great Outdoorsâ and many other pieces of prose and poetry in âLittle Worldsâ display the authorâs admiration for nature, with lines like, âNests and flocks of singing birds / Are singing like my lips / Bodies of rippling waters gather / And dance like my feet.â In âSimplicityâ life is simple, as simple as playing folk games, reading Enid Blytonâs novels, falling asleep on the couch and collecting leaves as money. The Poem âThe Smell of Booksâ is a true reader’s reality, the lines, âfew things/curl me up in a corner / and vanish the rest of the world,â say it all. This chapter ends with âA Letter to My 10-Year-Old Selfâ which is a moving epistle for any growing child worried about growing up.
Chapter Two is titled Clay Body and it begins with prose about bodies and mirrors and begs the question, what is truly broken, the perception of self or the mirror? This piece talks about the internalising of shaming. How we constantly check ourselves to see if we still fit into accepted societal standards of size and beauty. There is resignation here, no push back, Like the poem says âBut What does it matter, when my wrist will soon fit / into the circle your thumb and index finger makes.â
In Chapter Three things get harder. The piece âColonialism; The Remainder Toolsâ poses the thought-provoking question, What thought is my own, What language is my own, The Mother Tongue or the colonisersâ lingo? In âMy Grandmotherâs Handsâ we read about wrinkles, wrinkles that tell a story about hands that were tilled through slavery and what the history means for the future generation.
Chapter four is about personhood, who we are in the grand scheme of things. There is a quest here to not be defined or labelled one thing. It’s a chapter about purpose and discovery which poses the question – Does our revelation, query and acceptance of self happen in Solitude? Or in the company of a Kindred Spirit, a soul mate, perhaps.
 Chapter Five is titled âSweet Worlds.â This chapter is about love, living, the sky, the ocean and gratitude. Amife is skilful at connecting human and non-human nature to reveal a solid and poignant relationship. In a world where everyoneâs attention span is hanging by a digital thread, Amifeâs writing calls for a standstill, wills readers to be present, to not be hesitant about enjoying the mundane and acknowledging the natural. This section speaks of lakes, oceans, seas, skies, fruit, and beyond. Amifeâs poetry and prose are simple, evocative and feel like a warm hug, the kind that very gently resets a person.
Chapter six is titled âOlderâ. The writing here is about youthfulness, anxiety and ageing and in many ways is akin to the atmosphere in Lenrie Peters’ âThe Panic of Growing Older.â Peters reflects on missed opportunities and ageing, much like Amifeâs prose âYouth, A Drying Streamâ which puts societal pressures, ageing and the loss of youth in perspective.
Chapters seven and eight are about the fragility of human relationships and what it is to be human, to exist as people, moving and feeling in this world. It’s about desiring companionship, loneliness and yearning. In the prose piece âLove Leavingâ unresolved heartbreak and the difficulty of accepting loss is the center. The use of the repetition “it is not okay” heightens the sense of unresolved grief, showing poignantly the lingering emotional weight of lost love. In the very exalting and cinematic prose piece âButterfly, Katydid, Starfish, Hoopoe, Robinâ we see the personas moving as Butterfly, Starfish, etc. There is a kind of motion, an oscillation between human and non-human nature to honour moments and the interlocking of self in love and kinship. It’s a deeply moving and honest piece.
There is a huge presence and exaltation of sisterhood in âLittle Worlds.â Women and girls are safe in Amife’s collection. In âTears, â a very poignant poem, there is contemplation. The speaker also wants to know, âWhat does it feel like to be a man? / And be told that crying is not for you / Break a glass / Punch a wall / But from your eyes, A tear mustn’t drop.â Society will have the answers.
Chapters Nine and Ten take us on a journey of healing and how we must redefine perfection for ourselves. These chapters are about accepting our version of aliveness, about letting things be as they are. It’s about being kind to our God-given bodies, about rain, about breathing, about letting the day be day and night by night, about rest and healing, about realizing that life is a journey and discovering that growing old is a blessing in this big wild world.
The last and eleventh chapter is titled, âDear Nowâ and the poems here show clearly that in life, the one thing that is guaranteed is the passage of time. âThe Fear Swapâ is bold in outlining the existential fear about death, and the tension between the past and the future. The comparison of the speakerâs life to the occasion of the wilting hibiscus flower declares the speakerâs longing for real, lived experiences and a kind of resilience in this longing. The line âThe hibiscus could turn a dead purple by morning, but I’d still be hereâ depicts this clearly.
âLittle Worldsâ by Amife Sabatina is ideal for a broad range of readers, especially those who are trying to fall back in love with reading. Reading this book is a journey. The self-reflective and contemplative tone with which the book was written will work for readers who desire an expansive canvas, where deliberations on living, relations, dying and the overall human condition are celebrated or put into contention.