Mirroring Nigeria: Review of Hussain Ahmed’s “Crossroad Mirror” by Chinụa Ezenwa-Ọhaeto

Ahmed carefully layers Nigerian cultural practices into the poem’s emotional architecture. “Where I come from, silence is how you mourn a man without gray hairs”—the line invokes a northern Nigerian Muslim sensibility. It also hints at the Nigerian pattern of losing young men to violence, religious conflict, insurgency, and conscription.
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Review: Turning the Vase: Gustavo Hernandez’s “Bachelor” by José Enrique Medina

The poems refuse to dramatize feeling when intimacy is already present, letting proximity, stillness, and ordinary action carry the weight. Moments of connection are often pared down rather than heightened. After intimacy is established through shared gestures—errand talk, side-by-side movement, unremarkable speech—“Greenlight” concludes simply: “Nothing much happened.
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