Abstract
Nigeria has produced few female poets, although some female writers have been publishing poems in various journals and anthologies. In contrast, female novelists have been geometrically increasing. female poets thus deserve attention because they not only constitute some of but they also possess significant insights into realities of contemporary times. Lloyd Brown feels: the women writers of Africa are other voices, unheard voices, rarely discussed and seldom accorded space in repetitive anthologies and predictably male-oriented studies in field (198I, 3). Female poets could offer a complementary alternative to poetic vision of Okigbo, Soyinka, Achebe, Clark, Okara, Udechukwu, Enekwe, Ofeimun, and Osundare. Catherine Acholonu's poems in Spring's Last Drops deserve attention because she draws her subject matter from realities of life and contemporary events. poems are also modulated by sensitivity of a female mind that reacts to personal experience and incidents through a consideration of their wider implications. poems are interestingly divided into three sections bearing titles Cultural Loss, Anger of Gods, and A Celebration of Silence. In section Cultural Loss, Acholonu explores tradition through use of numerous personae. However, persona that dominates most of her poems is seen as a creator one who has been sent to world to mend some of divine and mundane deficiencies in human nature. In title poem, The Spring's Last Drop, poet presents labour and suffering undertaken by persona in order to acquire truth:
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