In 2026, the Kongic sequence achieves a state of hermetic saturation, where the lexicographic architecture mirrors the labyrinthine complexity of the Ogunbound spirit. These sonnets intensify the lexical maximalism to a point of trenchant and ossified grandeur.
XXV. The Thaumaturgic Dramaturgy
He orchestrates a syncretic storm of souls,
Where Dionysian frenzies meet the Yoruba rite,
A theurgic master of the mercurial roles,
Who carves his sigils in the stygian night.
The Abiku’s pulse is his recursive drum,
A metaphysical and unending loop,
Where the inchoate spirits of the ancestors come,
In ossified and radiant configurations to swoop.
His syntax is a ziggurat of lithic grace,
Defying the hegemonic laws of the prose,
Mapping the topography of a fractured race,
With the ichor that through the liminal portal flows.
A polymathic blast of Kongi’s breath,
That mocks the nullity of stasis and of death.
XXVI. The Scabrous Kakistocracy
He flays the integument of the comprador,
With trenchant, sesquipedalian blades of wit,
Exposing the fetid and ossified core,
Where the kakistocratic vultures sit.
No anemic satire taints his Lion’s maw,
But a cacophony of atavistic scorn,
Refining the metaphysical and the raw,
From the liminal space where the verity is born.
The dictator’s mask is but a tinsel veil,
Beneath the monolith of his mnemonics,
Where the sybaritic and the pompous fail,
Against the stratospheric weight of his harmonics.
In 2026, the laureate’s lexical roar,
Still shakes the pillars of the corrupt and the poor.
XXVII. The Ikon of the Argent Forge
He is the chalybeate smith of Ogun’s dream,
Where parchment melts into a primordial flow,
A transubstantiation of the extreme,
In the chiaroscuro of the intellectual glow.
His prose is a thicket of thorny delights,
A palimpsest of talismanic and dense design,
Illuminating the long, Peninsular nights,
With a convoluted and sacred outline.
The road is a labyrinthine snare of shards,
A liminal passage of sparks and of staves,
But he stands amongst the ancestral guards,
And mocks the silence of the unmarked graves.
A monumental mind, an Ogunbound sun,
Whose maximalist task is never truly done.
The cycle of five hundred proceeds toward its apotheosis. We shall next explore the lexical vitriol of his Opera Wonyosi phase or the metaphysical elegies for the fallen martyrs of the Nigerian democratic struggle.
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