• Book Title: FOOD FOR THOUGHT: Nourishing the Soul, One Bite at a Time
• Author: Professor Rev. Dr. Darlington Iheonu I. Ndubuike
• Publishers: WestBow Press.
• Reviewer: Dr Emeaba O. Emeaba
• Pages: 220

In Food for Thought, Darlington Ndubuike transforms the produce aisle into a pulpit, finding in seventy fruits and vegetables a complete theology of the examined life; its trials, its silences, and its unexpected harvests.

Consider, for a moment, the humble prune. Dismissed by most as a geriatric remedy, shriveled and graceless beside its more glamorous neighbors in the produce section, it is not the obvious vehicle for theological meditation. Yet it is precisely here, at the unglamorous end of the fruit bowl, that Professor Rev. Dr. Darlington Iheonu I. Ndubuike begins his ambitious, idiosyncratic, and occasionally arresting book of devotional reflections. “Before it becomes a prune,” he writes, “the plum undergoes a transformation; it is dried, its moisture removed, and its form altered. Though the process may seem like a loss, the prune becomes more concentrated, sweeter, and longer-lasting than the original fruit.” The pruning of the plum becomes, in Ndubuike’s telling, the pruning of the soul; God as Master Gardener, cutting away what comforts in order to cultivate what endures.

This is the central conceit of Food for Thought, and it is one the author pursues with a kind of joyful relentlessness across seventy chapters, each devoted to a different fruit, vegetable, or herb. From peach to peas, from chard to walnut, from kiwi to kale, each item in Ndubuike’s spiritual pantry yields a devotional lesson, a biblical parallel, and an acronymic framework for right living. The book belongs to a long lineage of nature-as-sermon writing; from the medieval Physiologus, which found moral instruction in the habits of real and fantastical animals, to the pastoral homiletics of the American evangelical tradition. But Ndubuike brings to the genre something distinctly his own: an exuberant fondness for wordplay, an autobiographical candor that occasionally startles, and a devotional warmth that persists even when the metaphors strain their seams.

The book’s organizing principle is phonetic rather than botanical. Ndubuike pairs each food with a homophonic or near-homophonic English word or phrase: the peach becomes a meditation on the “pitch,” or the power of words; the kiwi prompts a reflection on “Can we?”—a question of communal possibility and spiritual unity; the walnut, with a brisk semantic pivot, becomes “Worry Not.” The raisin asks us to search for “reason” in the dry seasons of life; the lettuce implores us to “Let Us” choose reconciliation; the cantaloupe reminds us that we “Can’t Elope” from our responsibilities. Some of these puns land with the satisfying click of genuine insight. Others; the beet becoming “beats,” the corn becoming “con;” are more strained, their theological freight arriving at the station considerably ahead of any logical locomotive to carry it. Ndubuike is clearly aware that he is operating in the territory of the playful homily rather than the systematic treatise, and he generally deploys his puns with enough good humor to disarm objection.

What distinguishes Food for Thought from its devotional shelf-mates is the quality of Ndubuike’s autobiographical interjections. In a chapter ostensibly about chard—”charred,” in his reading, as a metaphor for transformation through trial—he pivots without warning into a searing personal memoir: his years as an international student in Houston, the hurricane that destroyed his workplace, the repossessed car, the miles walked before dawn from Stella Link Road to West Belfort, folding newspapers in the back of a pickup truck, shoulder still aching decades later. These passages are written with a plainness and precision that distinguish them sharply from the book’s more ornate homiletical moments. They arrest the reader because they are specific in a way that allegory rarely is; because they insist that the fire he describes is not only figurative. “I had a return ticket,” he writes. “I could have gone home. But I stayed. That was over forty years ago. What felt like the end was actually the beginning.” The chard chapter, in other words, becomes something more than a meditation on resilience; it becomes testimony.

The book’s theological framework is unambiguously evangelical and Protestant, rooted in the conviction that Scripture is the primary lens through which the natural world—and human experience—ought to be interpreted. Ndubuike cites Proverbs, the Psalms, the Pauline epistles, and the Gospels with the ease of long familiarity. His approach to biblical narrative is typological and hortatory: Joseph, Esther, Naomi, Gideon, Abraham, and Ruth appear as recurring figures, their stories pressed into service as analogues for contemporary spiritual dilemmas. This is a deeply traditional mode of Christian preaching, and readers already within that tradition will find the interpretive moves intuitive, even comforting. Those approaching from other perspectives—secular, interfaith, or from within Christianity’s more historically minded wings—may find the hermeneutic at once earnest and occasionally reductive. Ndubuike is not much interested in the ambiguities of biblical narrative, in the gaps and silences that have occupied critical scholarship for a century and a half. He reads for moral and spiritual direction, and he finds it consistently wherever he looks.

Structurally, the book follows a disciplined if somewhat formulaic pattern. Nearly every chapter concludes with an acronym that spells out the chapter’s food—the pecan yields PECAN (Positioned in Christ, Empowered by the Spirit, Called with Purpose, Anchored in Faith, Nourished by Grace); the peach yields PITCH (Pause Before You Speak, Intend to Build, Tell the Truth in Love, Choose Words Carefully, Honor God and Others). These frameworks are designed, one senses, for pedagogical application; for church small groups, Sunday school classes, sermons, and workshops. As pastoral tools, they are admirably efficient. As literary devices, they occasionally impose a tidiness on complexity that the preceding meditation has not quite earned. Life, as Ndubuike himself demonstrates when he is writing from memory rather than from schema, is rarely as categorical as an acronym.

The book’s range is its most impressive quality. In the space of a single volume, Ndubuike moves from modesty and bodily dignity (the citrus chapter’s meditation on “see-throughs” and discretion) to individuality and self-expression (the garlic chapter’s spirited defense of the “Gar-ilk,” those uncommon souls who carry bold presence without apology), from the communal ethics of the kiwi to the eschatological patience of wheat. The chapter on basil is perhaps the most quietly searching in the collection: Ndubuike warns against what he calls “basil living”—a life of safe, flavorless adequacy, the spiritual equivalent of the default herb—and invokes Esau’s sale of his birthright as its scriptural type. The Israelites in the wilderness, longing for the cucumbers and garlic of Egypt even after their miraculous deliverance, are pressed into service here as cautionary archetypes of comfort-seeking and diminished vision.

The final chapter, devoted to peas—peace—arrives with the warmth of a well-prepared meal’s last course. Peas, Ndubuike observes, “grow together in a pod, side by side, close-knit, and in harmony. They don’t compete for space; they share it.” It is a fittingly communal image with which to close a book that is, at its best, an invitation to a shared table; to the practice of attending carefully to the ordinary, of finding in the quotidian not distraction but direction.

Food for Thought is not a book without faults. It is uneven in texture, moving between passages of genuine spiritual depth and others that settle for the pleasant cliché. The acronymic scaffolding, useful as a preaching tool, can feel mechanical when encountered seventy times. And there are moments when the phonetic conceits require a suspension of credulity that the theological argument is not quite strong enough to support. But Ndubuike writes from a place of authentic vocation; he tells his readers, only half in jest, that he cannot cook, and that the Holy Spirit is the true chef of this volume, and that sincerity has a flavor of its own.

For readers willing to receive it on its own terms; as an extended pastoral exercise in finding sacred meaning in the ordinary world, written by a man who has walked miles in the dark and emerged with his faith intact; Food for Thought offers something genuinely nourishing. Ndubuike’s grandfather’s voice can be heard throughout: in the dedication to his grandson Lennox, he sets the book as “a table I’ve set with care, each page a dish seasoned with reflection, truth, and love.” That is, in the end, exactly what it is.

This book is available on Amazon (Click on Image).

_________

♦ Dr. Emeaba, the author of “A Dictionary of Literature,” writes dime novels in the style of the Onitsha Market Literature sub-genre.

HOUSTON, TX — Texas Southern University’s School of Communication is set to host its 44th Annual Media and Communication Conference (CommWeek 2026) from April 6–10 at the Martin Luther King Jr. Building, bringing together a dynamic mix of scholars, students, industry professionals, and civic leaders to examine the future of media in an increasingly digital and AI-driven world.

Widely regarded as one of the School’s signature academic and professional events, CommWeek has evolved into a powerful platform for intellectual exchange, industry engagement, and student-centered learning. This year’s theme, “Beyond the Algorithm: Reimagining Media, Learning & Innovation with AI,” reflects the growing influence of artificial intelligence across journalism, entertainment, digital storytelling, and communication education.

Throughout the week, participants will engage in a series of panels, workshops, masterclasses, and networking sessions designed to explore how emerging technologies are reshaping media ecosystems. Discussions will address critical topics such as AI-driven content creation, ethical considerations in automated communication, evolving media business models, and the future of audience engagement.

According to Interim Dean Dr. Alan K. Caldwell, CommWeek represents a strategic opportunity to elevate the School’s academic and professional profile.

“Communication Week represents more than a conference; it is a powerful platform to strengthen the School of Communication’s brand, showcase the excellence of our students and faculty, and highlight the innovative work happening across our programs,” Caldwell said. “By bringing together industry leaders, scholars, and alumni, we create collaborative connections that position our school as a hub for forward-thinking communication education.”

Conference Chair Dr. Anthony Obi Ogbo (left) and Interim Dean Dr. Alan K. Caldwell: CommWeek has evolved into a powerful platform for intellectual exchange, industry engagement, and student-centered learning.

In addition to its academic significance, CommWeek plays a vital role in advancing student success. A key highlight of the conference is the Dean’s Banquet and Scholarship Awards, which raises funds to support academically talented and financially underserved students. These scholarships help reduce financial barriers, cover tuition and educational resources, and improve student retention and graduation outcomes.

For Conference Chair Dr. Anthony Obi Ogbo, CommWeek 2026 represents both a continuation of tradition and a bold step toward the future of communication education.

“CommWeek is where scholarship meets practice and where innovation becomes accessible,” Ogbo said. “This conference is not only about examining the future of media—it is about preparing our students to lead it. By integrating academic rigor with industry insight, we are building a platform that empowers our students, strengthens our institutional identity, and fosters meaningful collaborations that extend far beyond the classroom.”

The conference also emphasizes experiential learning, offering students direct access to industry professionals, hands-on workshops, and career development opportunities. These interactions provide invaluable exposure to real-world practices and help bridge the gap between academic training and professional application.

As a historically Black university with a long-standing commitment to cultural responsiveness and community impact, Texas Southern University continues to position its School of Communication as a leader in preparing students for both local and global media landscapes. CommWeek reinforces this mission by creating an inclusive space where diverse voices, perspectives, and ideas can thrive.

Open to students, alumni, and the broader community, CommWeek 2026 is free to attend and serves as a testament to TSU’s commitment to accessibility, innovation, and academic excellence.

For more information and the full conference schedule, visit www.soc-commweek.com.

• Book Title: Abiriba Calendar of Events: Past and Present.
• Author: Dr. Nwojo Kalu Ugah and Prof. Igwe Ebe Udeh, PhD.
• Publishers:  MIDIUN GROUP INC.
• Reviewer: Emeaba Onuma Emeaba.
• Pages: 129.

History is often a silent, monochromatic affair—a collection of graying facts relegated to the dusty corners of the academy. But every so often, a work arrives that refuses to let the past remain quiet. In their latest volume, Abiriba Calendar of Events: Past and Present, Dr. Nwojo Kalu Ugah and Prof. Igwe Ebe Udeh, PhD, do more than document a region; they stage a sensory intervention. Through a marriage of historical rigor and lively visual storytelling, the authors transform what might have been a static archive into a pulsing, audible record of the Abiriba people.

The importance of this intervention cannot be overstated. As a long-standing observer of the region’s social fabric, I find that this work stands as a thoughtful and valuable contribution to the documentation of Abiriba’s history, institutions, and cultural philosophy. It will serve both scholars and future generations as an important record of the distinctive republican heritage of the Abiriba people. It is a sentiment echoed throughout the three pages of glowing commendations that preface the text, where community titans and political leaders unite to praise a volume that has clearly become a communal milestone.

Dr. Ugah and Dr. Udeh’s most striking achievement is the “physicality” of the narrative. The book is heavily illustrated with archival photographs, many of which have been meticulously restored and brought into vivid color. By injecting color into the black-and-white silhouettes of the past, the authors collapse the distance between the contemporary reader and the historical subject. These images are literal and evidentiary; they do not merely “decorate” the text but are woven directly into the paragraphs. As the eye moves from a description of a festival to a photograph of dancers in mid-motion, the prose begins to hum.

However, the book’s unwavering devotion to preservation occasionally veers into the hagiographic. By focusing so intently on the “lively” and the “republican,” the authors sometimes sidestep the more uncomfortable frictions between these ancient rites and the complexities of the twenty-first century. One wishes for a more rigorous interrogation of how these traditions—some rooted in rigid social hierarchies or exclusionary practices—survive the scrutiny of a modern, globalized generation. At times, the narrative feels like a rescue mission so concerned with saving the artifacts that it forgets to ask whether the culture itself can sustain the weight of its own history without significant evolution. This idealistic lens, while beautiful, can occasionally obscure the very real internal conflicts that define a living, breathing community.

Despite this leaning toward the ideal, the book’s “sound” remains undeniable. The authors’ meticulous approach to sensory details suggests a profound sensitivity to the mechanics of cultural memory. By documenting the “snoring and bellowing” of the village drums—the ufĩẽ and the ikoro—with such granular detail, they transcend mere description. We see maidens of Am̃anta village daintily dressed for the Obina dance and Ukpo youths clothed in green ẹkọrọ weeds, and in doing so, we hear the pulse of the marketplace and the rhythm of the festival.

The volume’s sensory immersion is matched by its structural precision. Dr. Ugah and Dr. Udeh have included a comprehensive glossary of Abiriba terms, complete with English translations, ensuring that the “sound” of the culture is decoded for the uninitiated. This appendix is more than a utilitarian tool; it is a vital act of cultural rescue. By documenting the specific vocabulary of the month of Iri Am̃a or the legal principles of Onye Parị Ọba, the authors provide a permanent bridge between oral traditions and the written record.

In an era where history is often flattened by the passage of time, Dr. Ugah and Dr. Udeh have added depth and dimension back to the record. By the final page, the reader is left with the sense that they haven’t just read a history; they have witnessed a revival. They have ensured that, for the Abiriba people, the past will no longer be seen in shades of gray and will certainly no longer be silent.

_________

♦ Dr. Emeaba, the author of “A Dictionary of Literature,” writes dime novels in the style of the Onitsha Market Literature sub-genre.