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The re-introduction of political pluralism in the 1990s had a far-reaching effect
\non the ideological orientation of most African writers and their works. This is a
\nliterary normality because creativity does not find expression in an extraterrestrial
\nhemisphere but within a socio-political and cultural context. Consequently, every
\npolitical epoch produces its own art to serve as an interpretation of its activities
\nand times. Many African writers, during this period, used their art to clamour
\nfor political liberalization which they hoped was going to transform their society
\nfrom the dystopian state in which it was to that of socio-economic progress.
\nUsing Nol Alembong’s The Passing Wind (1991) and Titus Moetsabi’s Fruits and
\nOther Poems (1992), this paper aims at analyzing the response of African poets to
\nthe re-introduction of political liberalism in Africa in the 1990s. In this guise, the
\npaper posits that most African poets of the 1990 era are committed towards the
\npolitical project of exposing anti-democratic political structures in their society.
\nIn their critique of these structures, the poets indirectly clamour for resistance
\nagainst these structures and the strategies which are being used towards stifling
\nthe manifest democratic sentiments in their social context.