Caleb Femi’s 'The Wickedest' examines poetry on society’s margins

Caleb Femi’s second poetry collection explores South London’s secret nightlife and the struggles of life on society’s margins.

A large crowd gathers on the dance floor during a music event. Photo by Richard Newstead/Getty Images

By Novanka Laras and Hayu Andini

The Wickedest, by Caleb Femi

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Caleb Femi, a Nigerian-British poet, filmmaker, and photographer, continues to leave a mark on contemporary literature with his latest poetry collection, The Wickedest. Known for his deeply personal and socially conscious verse, Femi's second collection offers readers a glimpse into the hidden corners of South London life. With its vibrant imagery and unflinching honesty, The Wickedest explores the resilience, struggles, and creativity of those living on the margins of English society. This work follows his critically acclaimed debut, Poor, which chronicled his childhood in North Peckham Estate, a sprawling public housing complex.

Femi’s focus in The Wickedest is the titular house party, an imagined monthly gathering in South London. This event, shrouded in secrecy, unfolds over a single night, offering attendees a brief escape from their daily challenges. Entry is exclusive—you have to be “in the know” to gain access, as these parties are never advertised. In this collection, Femi uses the house party as both a literal and metaphorical space to explore themes of identity, community, and survival.

Femi’s poetry pulses with energy, capturing the sensory experience of the house party. The DJ’s beats, the riotous dancing, and the vibrant chaos of the night come alive on the page. For the attendees, this gathering is more than entertainment; it’s a momentary reprieve from life’s struggles. Femi depicts the music and dance as a form of catharsis, a way to process pain and reconnect with joy.

In one particularly evocative poem, Femi likens his mother’s heartbeat to the first bass line he ever heard, calling her womb “the first room I danced in.” This blend of personal history and metaphor typifies his ability to weave profound connections between the physical and the emotional. Another poem captures the universal experience of hearing a song that seems to resonate deeply, as if it has “always been playing in the background of your life.”

The music and dancing at The Wickedest are portrayed with a mix of humor and poignancy. In one poem, the DJ’s announcement injects levity into the chaos:

Shout-out to the lovers in the house
Big up the couple lipsing by the window
You lot been there all night though
You’re blocking the breeze, please kiss somewhere else.

Femi’s wit shines through, even as his poems delve into the weightier issues faced by his characters.

Beneath the vibrant surface of the house party lies a stark reality. Femi paints a vivid picture of the challenges his characters face—cramped living conditions, financial precarity, and the constant hum of worry. One character waits for his direct deposit to arrive at midnight, while another drowns out his uncle’s sobs with AirPods. These glimpses of hardship ground the collection, reminding readers of the resilience required to find joy amidst adversity.

Femi’s poems are filled with striking images that linger in the mind: makeup smudged on a T-shirt, cereal eaten with cooking oil, and lies whispered at parties. These moments capture the texture of everyday life, imbuing the collection with authenticity and emotional depth.

Femi’s work is deeply rooted in artistic and musical traditions. He frequently references other poets and musicians, creating a dialogue between his work and theirs. In The Wickedest, he borrows a line from Joshua Bennett’s The Sobbing School: “Lord, if you be / at all, be / a blade.” These intertextual moments enrich the collection, situating it within a broader cultural conversation.

Femi’s background as a filmmaker and photographer is also evident in his poetry. His imagery is cinematic, with each line evoking a vivid scene. In Poor, his debut collection, his photographs added another layer to his storytelling. While The Wickedest focuses solely on poetry, the visual quality of his writing remains a hallmark of his style.

Femi doesn’t shy away from examining how his own success has altered his relationship with his community. In Poor, he wrote about feeling disconnected from his roots:

I crossed over
& now the hood won’t take me back.
I stink of uptown, high ceilings, grand windows —
they know that I room in the belly of the bourgeois.

This tension between personal achievement and community loyalty is a recurring theme in his work, adding layers of complexity to his exploration of identity and belonging.

The Wickedest is undeniably a young poet’s book. Its boldness and raw energy are part of its charm, even as some poems feel less polished than others. Femi’s willingness to take risks and experiment with form and language sets him apart as a poet unafraid to push boundaries.

One poem ends with an instruction that encapsulates the ethos of the collection:

And when you leave here, do not
speak of what you saw tonight.
If the outsiders ask,
tell them you saw nothing, no poetry
or anything worth calling [art],
only cobwebs, stinky food
and trick mirrors.

This closing line reinforces the exclusivity of the house party while underscoring the ephemeral nature of the experiences Femi captures.

With The Wickedest, Caleb Femi cements his place as one of the most compelling voices in contemporary poetry. His ability to blend humor, vulnerability, and social commentary makes this collection both entertaining and thought-provoking. While not every poem achieves the same level of impact, the collection as a whole is a testament to Femi’s talent and vision.

Femi’s work reminds readers that poetry can be both deeply personal and profoundly communal. In The Wickedest, he invites us into a world that is as vibrant as it is fragile, offering a glimpse of life on the margins with honesty, empathy, and style. For readers seeking poetry that challenges, moves, and inspires, The Wickedest is not to be missed.

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