16 pages 32 minutes read

Telephone Conversation

Fiction | Poem | Adult | Published in 1963

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Further Reading & Resources

Related Poems

Still I Rise” by Maya Angelou (1978)

One of Soyinka’s contemporaries writing in the United States, Angelou penned “Still I Rise” as a mantra for living during times of hate with a history of slavery. The repetition of “I rise” throughout the poem, especially at the end, reinforces the speaker’s call to action. Literally, the speaker in Soyinka’s poem calls to take an action on an apartment that he wants, trying to explain his color using playful semantics regarding chocolate, sepia, and raven black. The landlady is not having the speaker’s sarcasm, similar to Angelou’s speaker asking those around her: “Does my sassiness upset you?” (Line 5).

War Widow” by Chris Abani (2006)

Born a generation after Soyinka in Nigeria, Abani similarly faced imprisonment and solitary confinement because of his writing and outspoken political views against the government. His poetry reflects his life experiences, and in “War Widow,” he starts with the symbol of a telephone with its lack of communication because those on the other end are “long dead” (Line 4). Communication via telephone does take place during Soyinka’s poem, but miscommunication is the more accurate term. Loneliness pervades both poems, the loneliness that comes from “staring off into a distance” (Line 7) in Abani’s poem and the loneliness that comes from being cramped in a phone booth and not being heard or respected in Soyinka’s piece.

The Hill We Climb” by Amanda Gorman (2021)

In this poem, Gorman discusses the metaphor of an uphill battle Black people continue to climb to reach success and the battle the United States as a whole faces to unite its diverse people. She recited this poem at the 2021 inauguration of President Joe Biden, the start of a new chapter for the country. Both Gorman’s and Soyinka’s poems show the global issue of racism from different angles. Soyinka’s poem shows the divide between people based on race while Gorman’s acknowledges that divide and encourages continued work toward the future. She writes, “We are striving to forge a union with purpose” (Line 20). In a way, Soyinka provides a small, albeit cheeky, precursor to Gorman’s visions when the speaker of “Telephone Conversation” offers to meet the landlady in person at the end of the poem.

Further Literary Resources

Death and the King’s Horseman by Wole Soyinka (1975)

Soyinka wrote this famous African play while exiled in Cambridge, England. Based on a true story, the play addresses the British colonizers’ squashing of a long-held Yoruba tradition of the horseman of the king dying by suicide once the king dies in order to make sure he reaches the afterlife. The community is in disarray after this change in tradition and questions its future welfare. Soyinka’s combination of Yoruba beliefs with Western theater conventions comes to life in this play, which has received productions in England, Nigeria, and the US.

Ake: The Years of Childhood by Wole Soyinka (1989)

In his second memoir, Soyinka recounts his youth in Ake as a curious troublemaker with Christian parents and a Yoruba spiritualist grandfather. He recounts wandering away from Ake at age four to explore a life-changing march in another village as well as the adult cynicism he experienced in contrast to his idealism when he began to attend secondary school. This book is not just limited to his views on his own life but to the wider Westernization of his small village that he saw take shape.

Essays in this collection analyze the works of Soyinka from different critical lenses, including post-colonial and feminist. As Soyinka’s former student, Jeyifo made sure to include perspectives from leading authors and critics as well as academics, such as Wilson Harris and Abiola Irele, who address Soyinka’s artistic abilities and political sensibilities.

You Must Set Forth at Dawn by Wole Soyinka (2007)

In his most recent memoir, Soyinka addresses his adult life living in his homeland and being exiled from it. Even when he was at odds with the Nigerian government, he still had support from friends and family and companies who produced his plays. This book teeters between painful and playful memories using lyrical language that readers are familiar with from his poetry and plays.

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