HOMELESS BUT NOT HOPELESS BY SOLA
OWONIBI
GROUP 10
GROUP LEADER: OYENUGA MUSLIHUDEEN
Adekunle
ASSISTANT GROUP LEADER: OMOIKE EHINOME
Magdelene
PLAY DIRECTOR: OLODU-RICHARD ABIGAIL
ADAEZE
ASSISTANT PLAY DIRECTOR:
OLAWUWO FAREEDAH OYINDAMOLA
Matric Number (271-300)
Members Of group 10
1 Olawuwo fareedah oyindamola
2 olayiwola Amina oyindamola
3 olodu-richard abigail Adaeze
4 olowu uche messiah
5 olujinmi oluwafolajinmi Akanbi
6 oluwarotinmi oluwanifemi Gift
7 oluwawande peace eniola
8 omaghomi itseoritsewarami Gabrielle
9 omamezi Marvelous oghenefejiro
10 omoike ehinome magdelene
11 omotinugbon james eniola
12 onamade Elvera oluwaseunfunmi
13 onavwie Paula oghenerukeme
14 onovo Praise Nmerichukwu
15 onumara Michael onyekachi
16 onwuekwe Ginikachukwu norah
17 onyejekwe keleremchukwu Deborah
18 onyenwe chizara favour
19 opara favour ihuoma
20 orji ezebola nkwachi
21 osagie ofure Heather
22 oseni oluwakanyinsola Adetutu
23 osifoluke omolola Aduramigba
24 osita chisom Sophia
25 osugba elkan chukwunuku
26 otoijagha winifried Eseohe
27 ovbije blossom Erhuvwuoghene
28 oyenuga muslihudeen Adekunle
29 oyerinde oluwatutise Toluwani
30 oyinlola sunshine oluwapelumi
SUMMARY
Poet: Sola Owonibi
Nationality: Nigerian
Literary Genre: Protest / Narrative Poetry
Period: Post-colonial, contemporary Nigerian poetry
poet's background
Sola Owonibi is a distinguished Nigerian poet, playwright, literary critic, and professor
whose work bridges creative expression and academic scholarship. He is a professor of
English at Adekunle Ajasin University in Akungba Akoko, Ondo State, Nigeria, where he
specializes in African literature and the intersection of literature and medicine .
Owonibi's poetry and plays often explore themes of social justice, marginalization, and
resilience. His acclaimed poem “Homeless Not Hopeless” gives voice to the struggles and
dignity of society's most vulnerable, portraying the homeless as integral yet overlooked
members of the community .
His notable works include:
Peace by Pieces (2000), a play that delves into themes of conflict and reconciliation.
The Black Men of Bissonnet Street, a narrative exploring the complexities of migration and
identity.
The Word in the Ward: World Writers' Portrayal of Diseases and Psychological Trauma,
examining how literature reflects and processes illness and trauma.
The Mines of His Mind: Critical Reflections on the Works of Tayo Olafioye, offering
scholarly insights into African literary traditions .
Beyond his creative writing, Owonibi has made significant scholarly contributions. He was
awarded an African Humanities Program Postdoctoral Fellowship by the American Council
of Learned Societies (ACLS) for his research on the therapeutic role of poetry in Nigerian
literature. His project, “The Interface between Poetry and Therapy in the Nigerian Literary
Tradition,” analyzes how Nigerian poets address themes of illness and trauma, highlighting
literature's potential in psychosocial healing .
Owonibi's influence extends beyond academia. He actively engages with literary
communities through platforms like Instagram and X (formerly Twitter) , sharing insights
and fostering discussions on literature and culture. His work has inspired tributes, including
an anthology of poetry published in his honor on his 50th birthday, reflecting his impact on
contemporary African literature .
Background of the poem
“Homeless but Not Hopeless” is a poem that highlights the pain, exclusion, and emotional
devastation faced by the homeless, while also drawing attention to their courage and inner
strength. The poet explores the lives of individuals living in a rehabilitation centre who are
likely war victims, displaced citizens, or the urban poor. These are people who were once
functional members of society; tailors, mechanics, traders, and farmers but have now been
reduced to begging and living off charity due to circumstances beyond their control.
Despite their outward appearance of suffering, the poem asserts that these individuals are still
full of hope. They have not let go of their humanity, dreams, or dignity. Owonibi uses the
poem as a platform to criticize social injustice and governmental failure while also
celebrating the resilience of the human spirit.
Plot Development:
The poem unfolds in a linear fashion, moving from reality to reflection, and then to resistance and
hope.
➤ Exposition:
The poem introduces the setting, a rehabilitation or displaced persons’ camp, where people wear “rags
of charity.” This line immediately establishes both their economic state and dependence on others for
survival.
➤ Rising Action:
We learn about the past of these individuals: they were once hardworking and respectable. Their
present suffering is not due to laziness but the result of systemic failure perhaps war, displacement,
economic collapse, or corruption.
➤ Climax:
The poem challenges the reader: do not judge these people by their current conditions. They are not
criminals. Their present status doesn’t define who they truly are. The injustice they endure is not a
reflection of their character.
➤ Falling Action and Resolution:
The poem closes on an uplifting note. While they may have lost physical shelter, they have not lost
spiritual or emotional shelter. They remain hopeful. Thus, they are “homeless, but not hopeless.”
Major Themes
A. Homelessness and Displacement
The core subject of the poem is the homeless. The marginalized, the displaced, and the
forgotten. The poem reveals how a once-stable life can be upended by circumstances beyond
one’s control, leading to poverty and displacement.
B. Hope Amidst Suffering
The title itself carries the message of hope. These individuals, though stripped of material
comfort, cling to the belief that better days will come. This spiritual resilience is the poem’s
emotional heartbeat.
C. Social Injustice and Government Neglect
Owonibi indirectly criticizes the government and society that allow people to be reduced to
such a state. By narrating the dignity of these people, he condemns the political and social
systems that have failed them.
D. Human Dignity and Identity
The poem emphasizes that one’s value is not determined by appearance or social status. The
speaker declares the humanity of these people who have been pushed to the margins. Despite
their homelessness, they remain people of worth.
E. Empathy and Misjudgment
The poet challenges societal tendencies to stereotype the homeless. Instead of pity or
contempt, he calls for empathy. The poem rebukes quick assumptions and urges society to
listen to their stories.
F. Resilience of the Human Spirit
Despite suffering, loss, and neglect, these individuals continue to fight for survival and retain
a sense of purpose. Their resilience is presented as heroic.
Tone
• Reflective: The poet takes a reflective tone, looking deeply into the lives and backstories of
the homeless.
• Sympathetic: There’s emotional solidarity with the suffering people in the poem.
• Critical: The poet subtly critiques the society that produced this suffering, especially
governments and institutions.
• Hopeful and Defiant: In its conclusion, the tone turns resolute—there is hope, and the future
is not entirely bleak.
Mood
• Somber: Readers feel the heaviness of loss and despair.
• Compassionate: The poet evokes emotional connection between the reader and the subjects.
• Inspiring: The ending leaves us with admiration for the strength of the human soul.
Structure and Form
• Free Verse: The poem is written in free verse with no strict meter or rhyme, reflecting the
chaotic, unpredictable nature of homelessness.
• Enjambment: Lines flow into each other without punctuation, mimicking the uninterrupted
continuity of suffering and survival.
• Stanza Variation: The poem does not follow a rigid stanza form, giving it a conversational,
documentary feel.
Language and Style
• Simple but Poignant Diction: The language is accessible, yet emotionally rich.
• Symbolism: “Rags of charity” symbolizes both material poverty and societal neglect.
• Metaphor: The title itself is a metaphorical paradox “homeless but not hopeless” conveying
how material absence doesn’t equate to spiritual void.
• Irony: It’s ironic that those who are most neglected often possess the greatest strength of
character.
Interpretation and Critical Commentary
Sola Owonibi’s “Homeless but Not Hopeless” is more than a poem, it is a social
commentary, a cry for justice, and a call for empathy. He humanizes those society has pushed
into invisibility. He compels the reader to look beyond appearances and understand that those
who live in poverty were not born into it, and often have stories of ambition, skill, and
dignity.
The poem dismantles harmful stereotypes and restores the identity and voice of the
marginalized. In doing so, it becomes a piece of resistance literature, rejecting narratives of
helplessness and asserting that while these people may lack physical homes, they are not
spiritually defeated.
Conclusion
In “Homeless but Not Hopeless,” Sola Owonibi masterfully blends protest and compassion.
Through simple yet powerful language, he brings to life the untold stories of the homeless,
challenging the reader to see beyond rags and ruins. The poem is a powerful reminder of the
resilience of the human spirit, the danger of social apathy, and the urgent need for collective
compassion and reform.
“The test of our progress is not whether we add more to the abundance of those who have
much, but whether we provide enough for those who have little.” – Franklin D. Roosevelt
This quote encapsulates the very essence of Owonibi’s poem, a compassionate society must
never forget the vulnerable.
