Abstract

Whenever revolutionaries in Nigeria challenge the powers that divest them of their space, rights, and security, state-actors label them terrorists. It is puzzling how terrorism is often defined as a paroxysm perpetrated by groups seeking their unassailable rights in their societies while the combustible actions of the state are ignored. Using the reader-response criticism, this study defines terrorism as an act of intimidation and oppression from the upper place of power to the lower place of marginalization. Charles Akinsete’s Dance of a Savage Kingdom poem and Ndubuisi Martins’ Answers through the Bramble poem aptly portray the monstrosity of the state in calibrating what is termed terrorism and picturing same in the oppressed. The poems portray the failure of the Nigerian State to provide an enabling environment for its teeming population to strive and grow. The structures of the poems indict state-actors for terrorism and depict the oppressed masses and activists as reactors to the inimical actions of the state. Rather than being sober, the oppressive state continually clamps down on aggrieved revolutionaries whose rights have been contravened, and cynically projects their oppressive actions as war against indiscipline and terrorism. Ironically, the masses strongly believe that the war against terrorism which the state-actors flaunt as an alibi for their wrongdoing is devious and self-serving. Leaning on the remonstrations of the poets, this study advocates that terrorism be situated properly within the context of its progenitors and stopped.