top of page

Penned in Rage Literary Journal, Edition 5

Welcome to the May-August, 2026 Edition of Penned in Rage Journal.

 

      Edited by

Chinụa Ezenwa-Ọhaeto

&

Bridgette James

 

Published in Hampshire, United Kingdom

May 2026, All Rights Reserved.

This is a self-funded project. If you like what we do, please tip the Editor of Penned in Rage Journal. A payment of $3 USD is advised. Thank you very much for your kind donation.

Donate with PayPal

Editorial by Chinua Ezenwa-Ohaeto

Copyrighted www.ellaspoems.com 2026 on behalf of published authors.

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the explicit permission of the publisher.

 

Poems and stories included in this journal are original and fictitious. When names, characters and incidents portrayed in this journal bear any resemblance to persons alive or dead, it is done under Artistic License in the United Kingdom where this publication was produced.

   

  Table of Contents

  1. The Currency of Fresh Music - Henry Opeyemi

  2. A Collaborative Coincidence - Colin James                                                              

  3. Theophany - Marvinci Bobbylex-Oduali

  4. It’s Not Over Until Ralia Loves Me - Musa Bin Imran

  5.  Art - Kumbukani (aka Kannie Jr) Chawinga

  6. The Sparrow That Rejected Her Song - Obiotika Toochukwu 

  7. Nobody is Asking You to Be a Superhuman -Thabani Denzel Nkosi

  8. Not Our Kind - Chidebelu Emmanuel Nnazoba

  9. The Witness - Chidebelu Emmanuel Nnazoba

  10. What Do They See When They Look at Me? - Peter Ezeh

 

Editorial

By Chinua Ezenwa Ohaeto

 

Literature has always demanded from us the gift of expression. A poem, a story, or any form of genuine expression is a medium through which we understand ourselves more clearly. Through them, we examine the present and return to the past, our history, hunger, desire, shame, displacement, and other complexities and burdens of being human. This edition of Penned in Rage has these fingerprints. The works gathered here emerge from distinct emotional landscapes and are bound by the urgency to be seen and also heard.

In assembling this issue, I observed that the contributors in this edition touched on various aspects of human endeavours. Marvinci Bobbylex-Oduali’s “Theophany” opens this conversation with devastating honesty. The poem confronts the violence of naming and the cruelty embedded in language used to diminish bodies and identities. What is remarkable about the poem is its insistence on transcendence, which goes on to transform personal dysmorphia into spiritual defiance. This leads to “Not Our Kind,” Debelu Nnazoba crafts a metaphysical meditation on exile and otherness. The figure at the center of the poem presents a society obsessed with categorization and ownership. The poem’s brilliance lies in its restraint. These lines, “The crowd fears no stranger— / only the mirror / that will not flatter,” remain haunting because they reveal our fear of being seen and of confronting things about ourselves we would rather leave untouched. Peter Ezeh’s “What Do They See When They Look at Me?” continues this interrogation of identity but from within the fractured consciousness of a speaker struggling against external projections. The poem examines the struggle of many young people navigating societies eager to reduce them to failures. The repeated refrain—“What do they see when they look at me?”—functions as an existential cry against misrecognition.

Elsewhere in this issue, love is tragically explored from the angle of social expectation. Musa Bin Imran Al-iqitisady’s “It Is Not Over Until Ralia Loves Me” progresses with the emotional cadence of oral storytelling. Set against the dust-filled streets of Hadejia. Bashir, the main character, loves Ralia sincerely, almost painfully so, but sincerity alone cannot overcome the rigid design of class expectations. The story seems to project the realization that effort and goodness are sometimes insufficient in an unequal world, a reality some persons would argue still remains embarrassingly relevant today.

Colin James’ “A Collaborative Coincidence” embraces surrealism and fragmentation through mythic, memory-laden expressions that were versed in unexpected ways. Likewise, Obiotika Wilfred Toochukwu’s “The Sparrow That Rejected Her Song” draws on allegory and spiritual connotations to examine the intricacies of human longing. Thabani Denzel Nkosi’s “Nobody is Asking You to Be a Superhuman” speaks directly to the pressures of modern existence, especially the impossible expectations placed upon ordinary people trying simply to survive.

Again and again,

these writers wonderfully point us towards the irreducible need

for tenderness and connection.

- Chinua Ezenwa Ohaeto

Again and again, these writers wonderfully point us towards the irreducible need for tenderness and connection. And as you read through this issue of Penned in Rage, I hope you allow these works to unsettle you where necessary and comfort you where possible. I hope you linger over the lines. I hope you recognize fragments of yourself within these pages. Most importantly, I hope you go away, reminded about the power of language and the beautiful things we can achieve with it.

1. Henry Opeyemi

The Currency of Fresh Music 

 

There are memories you don't

touch outside your father's house.

A black bullet primed by paucity     

cutting through the drowsy music

of dead flowers.

      There are still broken bones in these

      stories. I walked into mother's

     shadow—a shamrock of British

     ancestry under the melody of

     old skin. How we left our newborns

     to carry their own stillness into

     different halves.

Mother said Kaduna is a killer of dreams,

that you only appear before it with the

currency of fresh music. My heart is a gallery

of decomposed gunshots. The heaviness in

our eyes waxed cold, praying the elegy

into a discotheque, wrestling through the

water and painted bloodworms, as we

watch our garden of bees grow wild.

      Where is the euphoria in

      keeping this darkness alive?

What was our joy before the world

      became a flood of chaos?

A prayerless cathedral.

The prophet never told us that the

hope of glory would fade from its brightness.

Uncertainties—hymnals of devotional thoughts:

whatever we desire is an illusion reborn in filth.

       Into the stillness of a poltergeist,

       what could be darker—

       the gunpowder or the smoke?

       Outcries from the basement of

       an empty street, a gathering of

       frenzied ghosts through the landscape

       of visible things. Old Biafra war

       lingers through cobbled streets;

       its greyness holds gold coins in

       it's trouser pockets. For the second time

I thought of Biafra as father's misfortune.

O boomerang shattered, O Portraits stretched across

horizons of a watershed—of what use is healing when

your wound is a door to my paradise?

IMG-20260429-WA0017.jpg
  • Instagram
  • Twitter

Henry Opeyemi is a Nigerian writer and poet, who wants to someday sell out the 02 Arena as a performance poet. He is the author of two poetry chapbooks 'Autopsy of Old Fractured Wounds' (Ghost City Press 2024) and 'The Volume of Constant Screams' (Cat Courtyard Press 2025). His work has appeared on Poetry Column–NND, One Poem Only, The Primer, Ghost City Press and elsewhere. When he is not writing, he is teaching hearing impaired kids how to play chess.

                  A Collaborative Coincidence

                
The fence posts of Grenoble, France
                 6 to 8 feet removed to ensure stability.
                 High wind areas shorten the distance between.
                 Chestnut and Acacia wood,
                 Scotch Pine treated with copper
                 are resistant to isoptera.
                 Common flowers such as The
                 Murderer's Wife bloom here.
                 Renewed sightings of a gnarly monk
                 curtailed the overuse of french words
                 in describing our previous blase existence.
                 We were now formally discriminate
                 as to witnessing those blurry features
                 beneath his signature wide brimmed hat.
                 A large nose or productive profile,
                 long beard over Freudian cloak.
                 The smell of cavities and ancient humus.
                 Wide, somnolent stuttering gait.
                 He had been accused of cannibalizing
                 a hiker's remains with surrealistic tact.
                 Is thought to be wintering near Dijon
                 his rainy season, annually, brings him back.

2. Colin James

Colin James has several chapbooks of poems, Dreams Of The Really Annoying from Writers Knight Press and A Thoroughness Not Deprived Of Absurdity from Pisces’s Porch Press and book of poems, Resisting Probability, from Sagging Meniscus Press. He lives in Massachusetts with two cats, Dorothy and Jane.

3. Marvinci Bobbylex-Oduali

Theophany

Before I knew myself, the world knew me.

Already had pejoratives for something

I could not yet name: I was fag— the butt

of every joke, homo when I did not measure

up. And boy-girl when no one could decide

what I was, what I was trying to be. And how

could they? When there was a pasture

raging through the wilderness of my body—

sheep where there should have been wolves.

And where there should have been teeth,

a river-mouth full of goodness, refreshing.

So, how could they? When I was an entity—

free from the consequence of my member

down there. As in, who knew how much

power an appendage could hold over the

soul? How much the part can outgrow

the whole— the parasite, the host— turn

around and render it meaning-

less. As in, what am I without the weight

between my legs— who could I possibly be

outside my biology? And should I be culpable

for my dysmorphia? You should know

that I did not ask to be subdued. That I am

but a victim of this flesh and its failing,

flailing arm. Unlike you who stand guard,

try to keep me confined from behind

the bars of your prison— you should know

there's no vessel that can contain God.
 

IMG-20250420-WA0001.jpg
  • Twitter

Marvinci Bobbylex-Oduali is an emerging poet from Rivers State in southern Nigeria. Co-winner of an ‘Honourable Mention’ in the 2025 The World in Us writing competition, he has works published or forthcoming in cataloguing poetry magazine and La Rotonde Review. He tweets @marv1nci.

4. Obiotika Wilfred Toochukwu

The Sparrow That Rejected Her Song (Long Poem)

The small bird in a maiden’s open palms
refused the language of defeat.
No flutter, no ornamental dance
only a stillness heavy with knowing.

It would not sing for pity
nor rehearse the music of surrender.
Ashamed of silence, it borrowed pride,
feathering itself in borrowed colours.

Above, the sky arranged its choir
angels of wing and wind
and the parrot, bright-tongued courier,
counted messages like beads of survival.

Morning came without chorus.
Each bird hid inside the green grammar of vines,
avoiding the eye of the open sky.
Even the fig tree stood abandoned
its curse a shadow none would name.

Only one watched from a distance,
spinning stillness like a turbine,
learning the discipline of quiet.

The smaller birds studied altitude
how the heavy ones cut through air,
how wings negotiate space without collision.
The nza rose in sudden festivals of flight,

a trembling script written across the sky.

Elsewhere, men lifted new songs
praising the fall of another,
calling it victory.

Eagles withdrew into hunger,
fasting themselves into power,
returning like thunder to their own shadows.

Voices gathered for burial
hymns stitched with borrowed hope,
mouths asking for oil in empty seasons.

Bitterness grew feathers.
Ego learned to perch.
Rivalry sharpened its beak.

Bird against bird
a turning without harvest —
labour that builds no barn.

Yet the pelican opens her breast,
making sacrifice a form of music.
The owl keeps watch with iron eyes.
And somewhere, the sparrow remembers

a song is not noise,
but the courage to live
without becoming the predator.

thumbnail_IMG-20230302-WA0010.jpg
  • Facebook
  • Twitter

Obiotika Wilfred Toochukwu is a Nigerian upcoming and emerging creative writer. He has written published fiction and non-fiction stories. As a poet, social commentator and public affairs analyst; his works resonate in both local and international journals and magazines.

5. Thabani Denzel Nkosi

Nobody is Asking You to Be a Superhuman

Nobody is asking you to be a superhuman

at the same time nobody’s asking you to save their lives

but you’re welcome if you want to go out of your way

to be fair and square

you’re not allowed to join this circle or circumference

or at least not now

later, you won’t be in time

so the sooner, just to get it over and done

with hold your judgement

reserve your expressions

be unafraid to dance like nobody’s watching

sing like you’re in the shower

take your shoes off….

if this was our house, then we were going to walk…

wait hold that thought!

split second decisions

never had the time to decide

what?

Black, White and Russians would sound very fluent maybe eloquent

if they were in our company

not all company is good for, I was advised

all I was trying to do is escape without waking up the guards

but there is always a catch!

in life there are contributing factors

in other words, no matter the situation

every action has a deadline date

so we take steps, stepping stones

of course, they all have to be turned around

patiently waiting for mine to respond

for now, i can’t say word is bond

just trying to be as James as bond

Good luck Broke Boy Who? Where? What? How Sobona khona

Ninjan?

I’m only human and that must be acknowledged

(considered is your background if not surround sounds)

Where you lay your smart head, Is it safe?

What’s the right time to call, a Day or a Night shift?

The tone of your skin.

Thabow.jpg
  • Facebook

Insert Author's Bio Here

6. Art by Kumbukani (aka Kannie Jr) Chawinga

483925247_644401531865413_6931635372658688040_n.jpg

Kumbukani Chawinga is a pencil artist, poet and a violinist from Malawi.

  • Facebook

7. Musa Bin Imran Al-iqitisady 

  It Is Not Over Until Ralia Loves Me

 

 

The first time Bashir saw Ralia, the harmattan wind was blowing dust through the streets of Hadejia like forgotten prayers. The town was alive with the usual evening sounds—children chasing old bicycle tires, traders folding their mats in Kasuwar kara market, and the distant echo of the Maghrib adhan rising softly from the mosque near the riverbank.

 

Ralia stood beside her mother at a fabric stall, adjusting the edge of her blue veil as the wind fought against it. Bashir had gone there to deliver bags of rice for Alhaji Maikudi, the wealthy merchant he worked for. But the moment he saw her face, everything else disappeared.

 

Not because she was the most beautiful girl in Hadejia—though many said she was—but because sadness already lived in her eyes.

“Who is she?” Bashir asked quietly.

His friend, Nura, laughed. “Kai, Bashir. That is Ralia, daughter of Alhaji Balarabe. Forget her. Girls like that do not marry boys who carry rice under the sun.”

But Bashir could not forget her.

From that day, he began searching for reasons to pass through her street. Sometimes he would see her fetching water with other girls in the early morning. Sometimes he saw her standing outside their compound after isha, greeting elderly women respectfully.

“Assalamu alaikum, Hajiya,” she would say softly.

And every time Bashir saw her, something inside him tightened.

He was poor, yes. His father had died years ago, leaving him to care for his sick mother and two younger sisters. He never finished secondary school because survival became more important than education. Yet his heart carried dreams too large for his pocket.

One evening after Isha prayer, Bashir gathered courage and approached her near the narrow dusty path behind the mosque.

“Ralia,” he called gently.

She turned slowly, startled.

“I know this may sound strange,” he said nervously, “but I have carried your image in my heart for many months.”

Ralia lowered her eyes immediately.

“People are watching,” she whispered.

“I do not fear people.”

“But I do,” she replied.

Still, she did not walk away.

That small moment became the beginning of their secret love.

Days turned into months. Bashir would wait for her near the old neem tree after evening lessons. Sometimes they spoke only for a few minutes before she hurried home. Other times, they shared long conversations beneath the pale moonlight of Hadejia skies.

 

Ralia loved the way Bashir listened carefully whenever she spoke. He loved the softness in her voice whenever she said his name.

“Bashir,” she once told him, “my father will never accept this.”

“Then I will work harder,” he replied quickly. “I will become somebody.”

“You do not understand my family.”

“I understand love.”

Ralia smiled sadly.

In Northern towns like Hadejia, love alone was rarely enough.

Her father, Alhaji Balarabe, was respected across Jigawa. Wealthy cattle owners greeted him with deep respect. Politicians visited his compound during elections. His daughters were expected to marry men of status, men with cars, lands, and family influence.

Not boys who smelled of sweat and rice dust

When rumors of Bashir and Ralia began spreading through the community, her mother became worried.

“Ralia,” Hajiya Balarabe warned one evening, “people are talking. A girl’s dignity is like an egg. Once broken, it cannot be repaired.”

Ralia remained silent.

Then came the day everything changed.

A wealthy businessman from Kano, Alhaji Musa Dantata, arrived seeking Ralia’s hand in marriage for his son, Sadiq. The family celebrated immediately. Women filled the compound with laughter and congratulations.

But inside her room, Ralia cried until dawn.

When she finally met Bashir near the riverbank, her face looked empty.

“They want me to marry Sadiq,” she whispered.

Bashir stared at her as if the earth had cracked open beneath him.

“No.”

“My father has agreed already.”

“Then tell him you love me.”

“You know I cannot.”

“Why?”

“Because I am his daughter.”

Bashir’s voice broke. “And what am I?”

Ralia’s tears rolled silently.

“You are the only thing my heart ever chose.”

For weeks, Bashir fought desperately against fate. He worked day and night, carrying goods, repairing bicycles, even traveling to nearby villages searching for extra work. He wanted money, dignity, something worthy enough to stand before Alhaji Balarabe.

But poverty is cruel. The harder he ran, the more it mocked him.

One afternoon, he finally gathered courage and visited Ralia’s father.

The compound was large and quiet. Goats wandered near the entrance while elderly men discussed politics beneath a mango tree.

Alhaji Balarabe listened coldly as Bashir spoke.

“I love your daughter,” Bashir said carefully. “I may not have wealth now, but I am hardworking. I will spend my life making her happy.”

The old man looked at him for a long moment.

Then he laughed softly.

“Young man, love does not feed a family.”

“I can work.”

“You can struggle,” Alhaji corrected. “My daughter was not raised for suffering.”

Bashir swallowed painfully.

“Please, Alhaji.”

“No.”

That single word destroyed something inside him.

The wedding preparations continued quickly. Drummers arrived. Tailors moved in and out of the compound. Women sang traditional songs late into the night.

Meanwhile, Bashir disappeared from public gatherings. He stopped joking with friends. He stopped playing football near the school field. Even his mother noticed the silence eating him alive.

One rainy evening, Ralia secretly came to see him.

He sat outside his small house under a leaking roof, staring into darkness.

“Bashir,” she called softly.

When he looked at her, his eyes were red from sleepless nights.

“I came to say goodbye.”

He shook his head slowly. “No. It is not over until Ralia loves me.”

She began crying immediately.

 “I already love you.”

“Then stay.”

“You know I cannot.”

“Then run away with me.”

Ralia stepped backward as though slapped.

“You want me to shame my family?”

“I want you to choose us!”

Silence fell heavily between them.

Then she whispered the cruelest truth.

“In our world, Bashir… love is not always enough.”

The wedding took place three days later.

The entire town celebrated. Expensive cars filled the streets. Bright fabrics danced beneath the afternoon sun. People praised the union between two respected families.

But Bashir stayed hidden inside his room.

That night, while wedding drums echoed through Hadejia, Bashir walked alone toward the river outside town. The rain had started again, soft and endless.

Nobody saw him except an old fisherman passing in the dark.

The next morning, they found Bashir’s sandals near the riverbank.

His body appeared two days later.

Hadejia fell silent with shock.

Even the market women spoke in whispers.

Ralia heard the news while sitting beside her new husband’s family. At first, she refused to believe it. Then someone mentioned the river.

She collapsed immediately.

For many years afterward, people still remembered Bashir.

Some said he was foolish for dying because of love. Others blamed poverty. A few blamed Ralia.

But every rainy season, when the river overflowed and the wind carried dust through Hadejia again, old people remembered the boy who loved beyond reason.

And inside a large house in Kano, Ralia sometimes woke at night hearing his voice one final time:

“It is not over until Ralia loves me.”

But by then, it already was.

IMG_9oy2t8.jpg
  • Facebook
  • Twitter
  • LinkedIn

Musa Imrana was born in the city of Hadejia, Jigawa State of Nigeria, He had his primary Education at Jama'are Islamiyya Primary school from 2008 to 1014 and high school Education at Senior Secondary School Shagari. He is currently an undergraduate student of Economics in Sule University Jigawa State. He is Hausa. He has engaged himself in many activities of diverse aspects, such as informal education, local occupation and lot more.

8. Chidebelu Emmanuel Nnazoba

The Witness

The vulture is hated

for honesty.

 

He eats what the feast denies,

cleans what pride perfumes.

 

The village calls him filthy

while dining on decorated rot.

 

The outcast tends

what polite mouths bury.

 

He handles the carcass of truth.

 

For this,

the perfumed accuse him.

 

Decency is often deodorised decay.

 

The moth reads garments

better than priests.

 

It finds the weak thread

in the robe of honour.

 

The clan wears seamless belonging

stitched from slogans,

patched with ritual.

 

He notices the tear.

 

Worse—

he touches it.

 

No society forgives the hand

that proves the fabric mortal.

 

The many weighs worth

by what glitters.

 

He measures absence—

missing grain,

missing truth,

missing soul.

 

Such knowledge is outlawed.

 

The crowd can pardon vice

but not revelation.

photo 05.jpg
  • Facebook
  • Twitter
  • LinkedIn

9Chidebelu Emmanuel Nnazoba

Not Our Kind

He came where stones keep counsel—

not as guest, but question.

The market asked for name, clan, price.

He paid in silence.

For markets trade in echoes;

Silence closes accounts.

They asked the river’s source.

He pointed to thirst.

Thus the crowd concluded:

not our kind.

They fenced him with names:

alien, omen, error.

Name refused him;

he became presence.

Unlicensed presence

unsettles the licensed.

The tribe trusts what can be buried:

bones, titles, fathers.

What escapes record

is called danger.

He spoke nothing.

Yet silence accused.

The crowd fears no stranger—

only the mirror

that will not flatter.

He was that mirror:

no sermon,

only an unpurchased gaze.

Thus the verdict came:

not our kind.

But earth knows no stranger.

Root asks for no passport.

The market: danger.

The earth: witness.

Between those judgments

stands every exile.

Where dust outranks blood,

he is no stranger—

only witness.

Chidebelu Emmanuel Nnazoba, known as Deb Angel, is an Igbo-born Nigerian metaphysical poet whose satirical and reflective poetry explores society, identity, and human contradictions through humour, irony, and philosophical depth.

10. Peter Chukwuka Ezeh 

What Do They See When They Look at Me?

A reminder of life’s frailty, a symbol of the old,

Like a hearth used but now cold,

 of a story told without lustre.

 

What do they see when they look at me?

 

A roaring gust of confusion, a dynamite,

filled with close-up wall of destiny, short dreams, easily fulfilled, a depiction of a typical teenager,

Reckless abandon personified, a sleepy dreamer, like the livestock, in Jesus’ manger,

a hero of thought, a king of the dreamland.

 

What do they see when they look at me?

 

A shadowy figure cloaked in hateful spite,

 a force of nature, revenge's delight,

tick-tock the clocks tick, as I plot my revenge, plots thick,

A smiley face, forgiving and benignant, a face that beckons "bully me, would you",

swollen cheeks, swollen eyes, swollen stomachs, the songs of midnight aches.

 

A little genius, the devil's spawn.

A little demon who pays back in the day's dawn

 

What do they see when they look at me? I do not know.

What do they see when they look at me? Can die in a dusty room from death’s own rope.

 

In a twirling world of uncertainties,

 in a world of deception, and standards of many quantities.

In a world where the lamb is adored, and the lion feared,

 both put in a cage, the sheep for the lion reared?

 

I do not seek the unseemly praise of feeble consciousness,

 nor the tempting lure of patterned speech, fancy and flavoured, filled with maliciousness.

 

Now? I bring a mirror to the halls of men, and in the limelight, when they look upon me, what do they see?

They see a sort of resemblance, the very epitome of their being,

Filled with hate, envy, and pride, with a touch of what could have been.

 

No longer a crystal visor to see through.

What do they see when they look at me?

Frankly, I do not care.

5dfa2a93-3fed-4279-8dff-da6c0bc30ba5.jpg
  • Twitter

Peter Ezeh is a Nigerian student who writes poems and fiction. A longtime author of unpublished works, he is drawn to mystery, melancholy, and the quiet complexities of human emotion, crafting stories and verses that linger long after the final line.

11. Name

POEM

Add a subheading.png
  • Linkedin
  • Facebook
  • Twitter
  • LinkedIn
  • TikTok

Insert Author's Bio Here

12. Name

POEM

Add a subheading.png
  • Linkedin
  • Facebook
  • Twitter
  • LinkedIn
  • TikTok

Insert Author's Bio Here

Penned in Rage Journal, Amplifying Marginalised Voices

bottom of page