Using simple short poems, Augustine Omare-Okuru chronicles Uganda’s dark and chequered history, using vivid imagery, but sometimes also subtle and hidden messages.

In all, there are 107 poems, on politics, violence, war, peace, murder, religion, climate change, land infertility, poverty, effects of the arms trade and race, love, the joys and sorrows of wedlock, tribalism, nepotism, failed government policies, and failings of government.

The author begins at the dawn of Independence with the poem titled The Drums, which talks of the country’s numerous violent regime changes since the drums announced the uhuru victory in October 1962 and ushered in joyous celebrations — only for this to turn into drums of war in May 1966.

In the poem, A Party, Omare-Okurut castigates the Ugandan army that raided neighbouring Tanzania in October 1978 committed atrocities and later awarded some of its own honours amid public disapproval.

This was the the climax of late president Idd Amin’s dictatorial regime, and the poem talks of the fear that had gripped the country.

Fear of the unknown, of speaking out, of neighbours, of bosses, of juniors, fear in school, in hotels and universities.

There were so many cases of people simply “disappearing,” that fear reigned everywhere.

In the poem, Food For Thought, Omare-Okurut wonders if Ugandans are aware of their own guilt: will they imbibe the spirit of unity, resuscitate their homeland?

Are they ready to abandon hypocrisy and flattery for personal gain but instead hold national interest at heart?

Are they in a position to lead themselves down a path where they shall have no regrets?

According to Dr Mercy Mirembe Ntangaare, the former head of the Makerere University Faculty of Music, Dance and Drama, “The poems are…pieces of literature that to a great extent chronicle part of Uganda’s history, particularly the turbulent 1970s into the “confused,” resigned state of affairs immediately after regime changes…”

Prof Timothy Wangusa, Makerere University Literature lecturer observes that: “…they are characteristically short and tight poems through which run themes personal and public. Not to be missed is the satiric humour that informs the poetry, even when the subject matter is as horrific as political disappearances, and as cancerous as endemic corruption in the public arena.”

Maybe to show that the country’s dark history is a regional blot, the infamous brutal clashes between the Kenyan police and university students in the 1970s are captured in the poem, Just A Minute.

The police chase and disperse the demonstrating students with teargas, shield and batons, and once they corner one, waste no time in “extracting justice” and “teaching sense.” There were no questions asked, just beatings meted out.

The media is not spared for its indoctrination and misinformation.

For the blood that has flowed from time immemorial and nations, generations and civilisations destroyed – it’s mankind that has paid the price.

In the poem, Laugh And laugh, the author attacks the developed world for “laughing” at the developing countries and for the poverty and deprivation the poor countries find themselves in.

The poet argues that the circumstances that the poor countries find themselves in are not of their own making.

He decries the destruction of Uganda, the pearl of Africa in the poem, The Pearl No More.

The Pearl is no more because its natural gifts no longer sustain it but instead devour.

Blood darkens the plains and turns them into postmortem arenas for predators, the rivers and lakes into cemeteries.

Omare-Okurut laments the plight of today’s children in the poem Children of Violence.

Children no longer play hide and seek or sing lullabies and tell stories by the fireside, but instead “play ambush, shoot at and abuse people, land Bruce Lee kicks, the new culture we teach them: Poor children of violence.”

The poem The City, gives the reader a feel of modern Kampala.

It is described as a city of seven hills with seven rumours, seven days a week. “Seven rumours originate from the hearts of the weak and seven about which we cannot speak.” Kisenyi, a notorious suburb of Kampala is depicted as a nucleus of the good, the bad and the ugly in the poem, Kisenyi.

The suburb is a hub of life and death, a haven for magnates — money magnates, power magnate and poverty magnates.

The poems are a candid look at Uganda’s past, daily life and political future.

They are far from flattering but not humiliating or accusatory. Simply anecdotal.