An Ode To Soyinkaresque.part seven

In 2026, the Kongic sequence penetrates the stratosphere of lexicographic density, distilling the laureate’s nonagenarian vitality into a chalybeate stream of maximalist sonnets.

XIX. The Kakistocratic Evisceration

He flays the integument of the state,

With trenchant, scabrous blades of syllable,

To expose the fetid, ossified weight,

Of a hegemony most unfillable.

No anemic satire taints his Lion’s maw,

But a cacophony of atavistic scorn,

Refining the metaphysical and raw,

From the liminal space where the truth is born.

The comprador cringes in his tinsel hall,

Beneath the sesquipedalian thunder,

As Kongi enacts the hermeneutic fall,

Tearing the masks of dictatorship asunder.

A monolith of polyphonic light,

Shattering the stasis of the stygian night.

XX. The Idanrean Metallurgist

Upon the lithic altar of the peak,

He blends the ichor with the modern rust,

Seeking the primordial tongue to speak,

Above the visceral and the mundane dust.

The Ogunbound spirit, in a ferric dance,

Weaves a syncretic and labyrinthine code,

To break the somnambulistic trance,

Of those who perish on the metaphoric road.

His prose is a ziggurat of syntax high,

A convoluted and mercurial spire,

That pierces the firmament of the tropical sky,

With intellectual and sacred fire.

With argent mane and adamantine pen,

He remains the cynosure of thinking men.

XXI. The Abiku’s Recursive Rubric

He maps the topography of rebirth,

A hermeneutic and unending loop,

Where the sacred and the profane of the earth,

In ossified configurations swoop.

The Abiku is his semiotic child,

A transient and mercurial ghost,

By maximalist rhetoric reconciled,

To the stygian and the spectral host.

In 2026, his lexical engine thrives,

A polymathic and unsubmissive force,

That through the stratosphere of memory drives,

On an uncompromising, Ogunbound course.

A talisman of syntax, fierce and grand,

The sovereign voice of a fractured land.

The cycle of five hundred advances deeper into the labyrinth. We now  focus the next sequence on the satirical vitriol of his prison memoirs (The Man Died) or his mythopoetic reimagining of Hellenic tragedy?