Writings of the general word's body

Showing posts with label Odia Ofeimun. Show all posts
Showing posts with label Odia Ofeimun. Show all posts

Tuesday, April 06, 2010

The Lagos Black Heritage Festival

Here's Odia Ofeimun's dance drama A Feast of Return being performed at the Agip Hall of the MUSON Centre on Easter Sunday as part of the Lagos Black Heritage Festival (in the Shell Hall next door was a performance of Aime Cesaire's 'A Season in the Congo'). A Feast of Return is on tonight again at the Agip Hall, starting 7pm. Another play, King Christophe will be on 7pm also at the University of Lagos Auditorium.

For something a little different, US actress Sheryl Lee Ralph gives a performance 'Sometimes I Cry' at the Shell Hall of the MUSON (5-6pm) - today April 6.

If you're thinking that sounds cool, wait till you get a load of Hollywood star Danny Glover. Star of The Color Purple, Beloved and the Lethal Weapon movies, not to mention African modern classics like Bamako - the actor arrived late for the festival's pre-colloquium on Sunday at the Civic Centre. He had an excuse. There's a lovely little story about how Glover was getting set to fly to Lagos only to discover that his Nigerian visa had expired (he was here last year for the AMAA awards, Forest Whittaker in tow; none of that 'I'm American without the African' Morgan Freeman nonsense for Mr Glover, who's been known to attend events even in the US proudly wearing his agbada; and who fraternises with African filmmakers). So Glover phoned Wole Soyinka to ask what to do; it was too late in the day to go seeking a new visa and arrive in Lagos on time. WS told the actor to talk to Virgin Atlantic and see if they would fly him down all the same (he is Danny Glover after all). The Lagos end would be taken care of by the Nobel Laureate and the Lagos Governor Babatunde Fashola (the festival is a Lagos State project). Well, someone must've taken care of something, because Danny Glover showed up, albeit a little late.

Danny Glover takes centre stage at the Southern Sun Hotel in Lagos tomorrow April 7 for 'Nollywood Meets Hollywood' - An Evening with Danny Glover and Sheryl Lee Ralph. 7pm.

It's all kicking off in Lagos this week. The Lagos Carnival was on yesterday, and carnival goers thronged Lagos Island and Victoria Island for the parades, which ended in a jamboree at the Tafawa Balewa Square (TBS) in Onikan. All very well, but many who attended, even children, said it was a shambles at best, marred by poor planning on the part of the Lagos State Government. Why an event with a potential to attract a multitude of people should be concentrated on the island is beyond me. Immense pressure on the already crushing traffic situation as many extra thousands in cars would have squeezed through the bottlenecks of two bridges to reach the island, and find their way back again later. How much better it would have been if it had been on the mainland, Ikeja for example. It would have been less elitist too; who says it's only the well heeled on the island that must have everything at the tip of their noses?

There was poor communication of carnival routes which left many rudderless, only stumbling on parades by chance. Marwa/Keke Napeps (commercial tricycles if you're not a Lagosian) were dressed up to double as carnival floats instead of the real things - which was sad and charming at the same time. Some say it's only the first outing and the organisation will get better. But what is clear is that Lagos has a long way to go to come close to the now well oiled Calabar Carnival which takes place every December in Cross River State.

Perhaps the issue I have with these 'carnivals' in the first place is that they are so blatantly derivative of Caribbean carnivals. London's Notting Hill Carnival celebrates Caribbean culture in London (as claimed by people of Caribbean descent on the British Isles), so its perfectly fine. When the Notting Hill or Rio carnivals are then transposed wholesale to an African setting, which source-culture is being celebrated? How it is relevant to the day-to-day reality of Calabar or Lagos? Plumed, painted gentlemen with sequins and glitter on the streets of Calabar or Lagos - there is something faintly ridiculous about it. Something dreadfully out-facing. But as Lagos attests, it is catching on. Former Calabar Governor Donald Duke has succeeded in projecting Calabar as a tourist haven and a place of December fun and frolics, but at what cost? At least the Abuja Carnival - which is not without its problems - takes its cues from indigenous cultures, thank God for that.

Faint ray of hope: something tells me Lagos will not completely bow down and go the Calabar way, just something untameable about this city. Which is why I was so happy to see amidst all the cliched carnival images from Lagos yesterday a Sango devotee dressed up in trademark red adorned with cowries and "jazz" (oogun, juju, charms, talisman, voodoo... call it what you like), his hair in defiant 'Sango-man' cane-rows - doing his thing and breathing smoke. If only he had retained some dignity and did not carry on like a court jester. Oh dear.

Back to the Lagos Black Heritage Festival, which opened on Saturday April 3 and goes on till Friday April 9. The festival packs chockfuls of wonderful events into every day, something for everyone, including masquerades, boat regattas and Hugh Masekela in concert. Oh yes.

Unfortunately the festival programmes need a bit of deconstruction to unearth the gem of details from event listings. For instance there's an amazing Poetry Reading tomorrow (Muson, Agip Hall, 3pm) with over 10 poets (will post about it later). The festival programme just notes it down as 'Readings and performances by Odia Ofeimum (sic)' - which says nothing. Nuff said.

Thursday, April 01, 2010

Odia's Award

Scholar Tejumola Laniyan (right) presents the 2010 Fonlon-Nichols Award to poet Odia Ofeimun earlier today in Lagos.

Ofeimun had been due to receive the award last month during the 36th ALA annual conference at the University of Arizona, Tucson, but was unable to fly to the United States. He however graced major celebrations in honour of his 60th birthday, organised by the Centre for Black and African Arts and Civilisation in conjunction with the Odia Ofeimun Committee of Friends. The events included the Mamdani Lecture, held at the Nigerian Institute of International Affairs in Lagos on March 16.

Laniyan, a newly elected executive member of ALA (which gives out the annual award) was representing the Association. Also at today's presentation was journalist Kunle Ajibade, head of the Odia Committee of Friends.
  • Photo by MW

The Mamdani Lecture for Odia at 60

Congo and Sudan: Lessons for Nigeria



Mahmood Mamdani

Columbia University


[Text of talk delivered to the Nigeria Institute for International Affairs on Tuesday, March 16, 2010.]


How should we think of political violence in Africa? This is the question that I want to address today.

When it comes to making sense of political violence in Africa, most of us take the cue from how the international community reports it. By the international community, I mean those who speak in the name of the international community: that is, the corporate media, the international NGOs and UN agencies.

For that international community, Congo is today the paradigm case of senseless violence. The proof is said to be two-fold: first, the sheer numbers of the dead; second, the evident lack of reason for the violence.

Let us begin with the astronomical numbers of those said to have died in the violence. Beginning in 2001, the prestigious New York-based International Rescue Committee carried out multiple surveys of war-related deaths in Congo since the start of the conflict in 1998. According to the IRC, there were 1.7 million war-related dead in Congo from 1998 to 2001. These estimates climbed to a staggering 5.4 million by January, 2008. If correct, these figures would represent about 8 percent of DRC’s current population. Thus the Congo war was termed “Africa’s First World War,” the title of Gerard Prunier’s recent book on the Congo wars.

But how correct is this comparison? About 8.5 million troops were killed in the actual First World War. In contrast, the estimate of those who died of direct violence in the Congo wars is less than a hundred thousand. The balance, over five million, were said to have died of “war-related” causes, such as infectious diseases, malnutrition, disruption in vital supplies, and so on.
Your count of “war-related deaths” depends on your estimate of those who died of the same causes – such as infectious diseases, malnutrition – before the war. In October 2008, two Belgian demographers, André Lambert and Louis Lohlé-Tart, were invited by the European Commission to assess the 2005-06 voter registration process in the DRC. They drew on the data they had gathered, and whatever else they could muster, and wrote a devastating critique of the IRC estimates: they concluded that the excess death toll between 1998 and 2004 was roughly 200,000—which is one-twentieth of the IRC’s 3.9 million excess death estimate for the same period.

Their findings triggered further reviews. WHO commissioned a peer review, which concluded that the IRC “estimates” had been based on “extrapolations” that were “speculative at best”. A WHO-affiliated unit, called Health and Nutrition Tracking Service (HNTS), said the IRC’s estimates of mortality rates before the war had been too low. Another reputable source, the Human Security Report, used a more realistic baseline rate for the period May 2001 to April 2007 and found the results led to a very different conclusion: “The best estimate of the excess death toll shrinks to less than one-third of the IRC’s original figure––from 2.83 million to 0.86 million.”

At this point, then, we have several wildly divergent estimates of war-related dead in Congo: they range from the IRC’s sensational 5.4 million to the Belgian demographers subdued 200,000. Where does the truth lie?

Let me turn to Darfur, where there were equally divergent estimates of war-related deaths. In this context, an audit agency of the U S Government, called the Government Accountability Office (GAO), got together with another reputable U. S. institution, the U. S. Academy of Sciences, and put together a panel of experts. The GAO had compiled six different studies, which ranged from a high estimate of 400,000 dead, coming from Save Darfur-linked researchers, to a low of 50,000 to 70,000 dead, by the World Health Organization. The panel of experts agreed unanimously that Save Darfur estimates were the least reliable, because Save Darfur researchers had extrapolated the figures from a survey of refugees in camps in Chad and had generalized them to the whole of Darfur. The experts said that a more reliable estimate may be closer to 118,142, as calculated by CRED, a WHO-connected research unit in Europe, and not 400,000, a quarter of the Save Darfur figure.

As in Congo, there was a second distortion. WHO reports suggested that many of the deaths in Darfur may not be war-related as much as drought-related, for one reason. WHO estimated that 70-80% had died from the effects of drought and desertification; that these were mainly infants and children who had died mainly from diarrhea and dysentery. More importantly, the drought had preceded the war.

The GAO report was sent to the State Department which agreed with its findings. It then made its way to Congress and then to the GAO’s internet site. Just as the reassessment of the dead in Congo has had little effect on media reports, so did the GAO’s reassessment have little effect, either on media reports or on Save Darfur’s continuing claims, relayed in full page ads in New York Times as well as in subway and bus posters, on the numbers of the dead in Darfur.

We know that data collection is among the first of casualties in any social crisis. When international NGOs confidently continue to put forward figures even after their reliability has been expertly questioned, we have a right to question their motivation. I suggest that this practice reveals more about those making the projections than about the places they write about. Is the deliberate exaggeration of figures part of an NGO fund-raising strategy, or is the motivation more sinister, meaning more political? I frankly am not in a position to tell.

Please do not misunderstand me. My point is not that the numbers who have died from African conflicts are miniscule and not worthy of concern. The number who have died are too many by any yardstick, so much so that there should be no reason to exaggerate them.

The International Community does not just tell us how many have died in African conflicts. The also interpret the violence behind these deaths.

Think of the reports on the violence in Congo. Even as responsible an organization as Human Rights Watch ascribes the deaths to “anarchy”. Anarchy evokes meaningless, gratuitous, repetitious violence. In Africa’s World Wars, Gerard Prunier describes Congo’s “rebels” as “first and foremost armed movements without ideology, without any large civilian constituency, and without any sort of unified cause … more akin to vampires than to soldiers.”

Read a human rights organisation report on violence in Congo or in Darfur, you will find that the structure of the report is basically the same. The report begins with a page or two on history. The bulk of the report is given to documenting atrocities. The real point of the report is to identify perpetrators. The technology of human rights activism is summed up in one phrase: “name and shame”. The report concludes with a set of recommendations. These inevitably call for the perpetrators to be punished.

Here is the problem: contemporary international human rights reports show hardly any interest in the issues that drive the violence. In situations where the violence is not a stand alone event but part of an ongoing cycle, where there is a history of violence in which victims and perpetrators have tended to change sides, it is more important to identify and address the issues that drive the violence than to demonize the latest group of perpetrators. If we are interested in bringing the violence to a stop, we should be interested not just in crime and punishment but, more so, in reform.

To make my point, I would like to focus on one event that seems to recur in African conflicts: ethnic cleansing. The political history of post-independence Congo is marked by ethnic cleansing: in Katanga and Kasai in 1961, and then again in Katanga three decades later, in 1991; and then, in Ituri and in Kivu. The political history of Darfur is also similarly chequered: ethnic cleansing first surfaces in the 1987-89 civil war between the sedentary Fur and nomadic ‘Arab’ tribes and then in the 2003-04 counter-insurgency that overlay the rekindled civil war. A look at the Rift Valley in Kenya or northern Ivory Coast is enough to tell us that Congo and Sudan are not exceptions. Ethnic cleansing has become a central part of political violence in post-colonial Africa.

The events in Congo and Sudan suggest that ethnic cleansing is not anarchical,but methodic. Nor is it the result of sheer conspiracy from above, for the simple reason that violence on such a scale requires the coming together of initiatives from both above and below. It requires joining elite conspiracies to popular organisation. The challenge is for us to understand the popular dimension of this process. We need to understand the historical processes and the institutional practices through which these agencies were shaped.

I would like to trace this historical development step by step through the colonial period. Colonial authorities claimed that Africans have always lived in tribal homelands. At the same time, they told us that Africans have always been on the move, whether as nomads on hoofs or as farmers practicing shifting cultivation – or just running away from perennial wars and slave raids. If even a little of that is true, then there must have been at least some places where ethnic groups were mixed up. How were these places turned into tribal homelands in the colonial period?

The answer is: administrative force. Take the example of Katanga, where King Leopold, and the Société Générale de Belgique, Belgium’s largest corporate concern, partnered with British interests to form Union Miniére du Haut-Katanga (UMHK) in 1906. Their object was to exploit Katanga’s mineral resources. For this, they needed to squeeze labor from hinterland populations. This required a firm administrative grip on rural populations.

I suggest that we distinguish an ethnic group – a group that speaks the same language – from a tribe, a group defined by a common territory. I am suggesting that we view “tribalization” as a colonial administrative project. In Katanga, a series of decrees were passed, in 1906, 1910, and then 1933, requiring that each ‘tribe’ be identified, separated, and resettled, each in its own ‘homeland,’ each supervised by its own Native Authority. One District Commissioner complained: “Batshioko, Lunda and even Baluba are totally jumbled and it will be very difficult to organize them into separate chefferies.” The separation was accomplished between 1925 and 1930. “Customary” chiefs were charged with supplying designated quotas of labor and food, at first to the mines and, later, to European farms and administrators.

Like Katanga, Ituri too was the site of lucrative gold mines, Kilo and Moto, to which King Leopold’s men were lured as early as 1903. As in Katanga and Kasai, so in Ituri, colonial pacification began with a policy they called “regroupement”. Over nearly two decades, from 1916-17 to 1930s, the authorities separated the predominantly pastoral (Hema) from the predominantly agricultural (Lendu) populations, herding each into its own homeland (territoire) supervised by its own tribal authority (chefferires).

A census tagged every villager as a tribesman or woman, as a ‘native’ of a particular tribal homeland. Those living far from their “natural” leaders were targeted as “runaways” from tribal homelands. When the Lendu moved away from drought struck areas in the mid-30s, one District Commissioner wrote that force would be necessary “to maintain the regroupement which was under threat”.

Each tribal homeland was run by a Native Authority. This power was not elected; nor was it appointed from all those who lived in the administrative unit. The Native Authority was appointed only from the “tribe” said to be indigenous to the land. Non-indigenous groups were required to pay tribute to “indigenous” chiefs in the Native Authority. The Native Authority system politicized ethnic identity gave the name “tribe” to this politicized group. As a political identity, tribe became the basis of systematic discrimination between groups: only tribes officially acknowledged as “indigenous” were entitled to “customary” rights, which included the right of access to land and the right of participation in local governance. This system of discrimination was sanctified as “customary” and was enforced by law.

The colonial system rested on a dual system of institutionalized discrimination: race in urban areas, and tribe in the countryside. Whereas racial discrimination was justified as reflecting a civilizational hierarchy between colonizers and colonized, tribal discrimination was said to recognize cultural difference between natives.

What is the connection between the system of power I have just outlined, the Native Authority system, and ethnic cleansing? So long as the tribal system of power continued to discriminate between ethnic groups, all institutions came to bear a tribal imprint. Recruitment for the mines or the civil service or the army was driven by tribal identity. Not only competition but also resistance developed along tribal lines.

Let us return to Katanga. Labor migration gave rise to a triangular relationship within Katanga, with each group classified as indigenous or not. The interesting thing is that there were two ethnic groups but three different classifications in the “tribal” system. The first were the Lunda, said to be indigenous to Katanga. Then came the Luba immigrants from Kasai, who were divided into two groups. Those who had moved to Katanga before colonialism were considered ‘indigenous’ and were identified as Luba-Katanga. In contrast, those who had arrived during the colonial period as labor migrants were tagged as not indigenous and were known as the Luba-Kasai.

All three groups organized as separate political parties. Alongside, there was a fourth party, representing Belgian settlers in Katanga. In the mines of Katanga, the Belgians confronted the Luba, organized in militant unions. With the development of militant nationalism, Belgians promoted an alliance of the settler party with the indigenous Lunda, known as the alliance of “civilizers” and “authentic Katangans”. The alliance first targeted the Luba-Kasai, and then all the Luba.

It is the logic that the identity of the native was tribal, not only when it came to exercizing power but also when it came to resisting power. It is the logic that fed the dynamic to secession and, ultimately, ethnic cleansing. As the alliance between “civilizers” and “authentic natives” gelled, the colonial establishment – the church, the state and business – took to backing “nativist” tribal movements, in both Katanga and Kasai. With Belgian support, each mounted a separate drive for secession, first in Katanga (11 July 1960) and then in South Kasai (8 August 1960). Branded “aliens” in both places, the Luba became the first target of ethnic cleansing in both South Kasai and Katanga.

This is the context in which the first major political crisis in Congo’s history unfolded. The new government responded to the secession in Katanga by sending the army to suppress it. On their way to Katanga, troops of the Congolese National Army were ordered to put down the South Kasai secession. They went on a rampage, slaughtering civilians.

Nzongola Ntalaje, the Congolese political historian, has argued that Lumumba committed his “first major political blunder” when “as the number one national leader, instead of seeking to heal the rift in a bitter inter-ethnic conflict”, he chose to side with one group against another. Thus he provided political enemies the opportunity to corner him politically and eliminate him physically. Immediately, Dag Hammerksjold, the UN Secretary General, accused Lumumba of being responsible for “genocide”. That same day, 5 September, Kasa-Vubu dismissed Lumumba as Prime Minister.

The Native Authority system continues to drive the crisis of citizenship in Congo today. Driving a wedge between two politically defined groups – indigenous and not indigenous – it continues to fuel the dynamic leading to ethnic cleansing. The prophetic round of ethnic cleansing began at independence, with Katanga as he paradigm case, but it was repeated on a more dramatic scale in 1992-93, again in Katanga, then in Ituri in the conflict between Hema and Lendu, and finally in Kivu.

The political crisis in Congo is today at its most extreme in eastern Congo, in Kivu, where the Native Authority system pits ‘indigenous’ tribes against the Banyaruanda minority. The Banyaruanda are the speakers of the language Kinyarwanda, identified with the historical kingdom of Ruanda. Along with speakers of Kirundi, its sister language, they number roughly 40 million. Mainly resident in Ruanda and Burundi, Uganda, Tanzania and Eastern Congo, the Banyaruanda comprise the largest language group in the region, if we exclude the trans-ethnic speakers of Kiswahili. Since most Banyaruanda live outside Rwanda, they face the crisis of citizenship in its most acute form: wherever the mode of governance is defined by the Native Authority system, the Banyaruanda are defined as ‘non-indigenous’ outsiders. Even if born where they live, they remain without ‘customary’ rights, whether to land or to appointment in a local authority.

As with Lunda migrants into Katanga, the Banyaruanda in Kivu were also divided between those who came before Belgian colonization and those who came after. The former were considered indigenous, but not the latter.

Denied ‘customary’ access to land, the Banyaruanda took to purchasing land as private property, and refused to pay tribute to customary chiefs. The result was a contest between two different notions of rights: on one side the right of the citizen, and on the other “customary” right. The political dilemma became acute where the Banyaruada became a majority, as they did in Masisi and Rutshuru by 1958. The conflict between the Banyaruanda and the indigenous groups broke out in 1963 and turned into a wider contest: immigrants demanded ‘democracy’ and the indigenous groups called for ‘custom’ to be upheld. Known as La Guerre du Kinyarwanda, this conflict lasted two years.

So sensitive was the citizenship status of the Banyaruanda minority at independence that the Roundtable Conference in Brussels was unable to fix its juridical status. The Fundamental Law the conference passed left the citizenship status of the minority unresolved; instead, it called on the Congolese people to settle the issue at a future date. The 1964 constitution famously declared that only a person with an ancestor who was “a member of a tribe or part of a tribe established in the Congo before 18 October 1908” would qualify as a citizen of Congo. The consequence was to bar all colonial era labor migrants from citizenship.

The most important dimension of the citizenship problem in Kivu is the failure of the indigenous majority to work out a political principle that would accommodate developments on the ground and extend citizenship to migrants, thereby constantly redefining the political community. The consequence of this failure was that migrants into Kvu increasingly sought protection from an outside power, initially Mobutu and then, after Mobutu, neighboring Rwanda.

Even the internal opposition, a gathering of over 100 political parties and over 400 civic groups, which came together as the Sovereign National Conference in Kisangani in 1991-92, failed to address this question. In contrast, Mobutu tried, as in 1972, when his reform extended citizenship to those who had immigrated to Congo during the colonial period. Called upon to think of a principle other than ethnic descent as the basis of citizenship in Congo, the CNS failed.

It is this failure that ultimately led to the collapse of the CNS. The failure was tragic because the CNS began as a spectacular success. Its proceedings were televised throughout urban Congo. The effect was to inspire further initiatives. There was a mushrooming of civic organisations, thickening the texture of the internal political opposition. The Sovereign National Conference was closed abruptly on 6 December 1992 when it was ready to deal with two of the most politically sensitive dossiers: one on ill-acquired goods and the other on political assassinations. The failure of the CNS to reopen pointed beyond the regime’s strength to internal weakness of the opposition.

The opposition was faced with the dilemma of managing internal tensions within its own ranks, the very challenge that had undermined Lumumba’s position in 1961. The more it failed to manage these tensions, the more the opposition fragmented. The worst outcome was in Katanga, where events were sadly reminiscent of 1960. As in 1960, the Lunda and the Luba had organized under separate political roofs, the former in the Katanga-based party, called Union des Fédéralists et des Républicains Indépendants (UFERI), led by a relative of Tshombe, Jean Nguza Karl-i-Bond (Nguza), and the latter under UPDS, led by Etienne Tshisekedi, himself a Luba from Kasai. Initially, UFERI joined UPDS to form Union Sacré, the most important opposition bloc in CNS. But this was an inter-ethnic unity of two separate ethnically-based organizations. Intent on splitting the opposition, Mobutu first appointed Tshisekedi as Prime Minister and then replaced him with Nguza. It was Nguza who closed the CNS in 1992 on Mobutu’s orders. On its heels followed the second episode of ethnic cleansing in Katanga, on a scale much larger than in 1960. This time, over a million Kasaians expelled from Katanga.

Let me turn to Darfur and Sudan. Since I have traced this history in detail in my recent book, Saviors and Survivors: Darfur, Politics and the War on Terror, it should be sufficient to underline key developments in this lecture. The first was the creation of tribal homelands under British colonialism.

The British faced several crises during their centuries-long imperial venture. The most serious of these was in mid-19th century when two revolts, the 1857 Uprising in India and the Morant Rebellion in Jamaica, rocked the empire at its two extremes. The next great crisis was the Mahdiyya in Sudan. When the British returned to defeat the Mahdiyya and colonize Sudan, they were determined to fragment the colony as effectively as possible. Thus began the program of “tribalization”, beginning with the creation of tribal homelands. From the very outset, this was a political program. It favored British allies against those who had joined the Mahdiyya, and then it favored settled over nomadic groups, since the former were easier to control. So the colonial power created “tribal homelands” – called hakuras – for peasant groups, and smaller ones for cattle nomads who were semi-sedentary, but none for the wholly sedentary camel nomads.

This did not seem to matter much until drought and desertification hit the region. Studies by the United Nations Education Program, released a few years ago, show that the southern rim of the Sahara expanded nearly a hundred kilometers over four decades, from the mid-1940s to the mid-1980s, pushing the northern nomadic tribes south in search of better land. The result was a classic ecological conflict between nomads and peasants over the best land in an ecological disaster zone.

I was a consultant for a year for the Darfur-Darfur Dialogue and Consultation, a unit created by the African Union after the Abuja negotiations. The DDDC carried out a research on the dynamics of the conflict. Its findings showed that the conflict had spread over two axis: a north-south axis that pit nomadic against peasant tribes, and an east-west axis in the south that pit two kinds of nomadic tribes – those with homelands and those without – against one another. The media focused exclusively on the north-south axis of the conflict which it portrayed as one between ‘Arab’ and ‘African’ tribes.

There are two problems with this portrayal. The first is that the driving force of the conflict was not ethnic identity but the search for land in an ecological crisis. Whoever controlled the land would survive the crisis, whoever lost control over land would parish. But because land had been defined as “tribal homeland,” the fight for land turned into a fight between tribes. This is how most observers on the ground understood the logic that fed the growing brutality in the conflict. As in Kivu in eastern Congo, the conflict in Darfur pit two notions of rights against one another: the camel nomads claimed the right of the citizen to settle anywhere in the country, whereas peasant groups laid claim to tribal “customary” rights to land and local governance.

Second, there is no single history of “Arabs” of Sudan. In particular, the history of “Arabs” of northern Sudan and that of Arabs of Darfur is radically different. Whereas the “Arabs” of northern Sudan include immigrants from the Arab world, the “Arabs” of Darfur include immigrants from West Africa, mainly the Fulani who are known as the Fallata and identify as an “Arab” tribe in South Darfur. There is also a difference in the relationship of Arabs to the slave trade in different parts of Sudan: the slave trade in the Sultanate of Funj in the North was driven by an “Arab” elite, but in the Sultanate of Fur was driven by a Fur elite. The result was that whereas most former slaves in the north tended to identify as “Arab”, most former slavers in Darfur tend to identify as Fur.

The elite in northern Sudan today is mainly “Arab”, but the elite in Darfur is not. The Arabs of Darfur are in fact its least privileged group, with the lowest levels of income and education and the least representation in the state. If Darfur is marginalized in Sudan, the “Arabs” of Darfur are doubly marginalized.

Let me return to my main point: the Native Authority system and how it generates the dynamics that tends to lead to ethnic cleansing in times of political crisis, and the need to reform it.

When he faced the internal opposition in Congo, and its spectacular success as witnessed in the launching of the Sovereign National Conference in Kisangani in 1991, Mobutu launched a counter-offensive, disguised as a reform of the state. This is when he advanced a new federal principle for Congo. Geopolitique, as he called it, was an attempt to elevate ‘nativism’, hitherto the basis of organization of the Native Authority, into a principle for the reorganization of the central government. Having already passed a resolution that every aspirant to Congolese citizenship demonstrate an ancestral connection with Congo prior to the Berlin Conference, Mobutu now declared that new heads of Ministerial Departments represent their ‘native’ provinces. By calling for regional quotas as the basis for recruitment at the center, Geopolitique further entrenched indigeneity as a principle and institutionalized ethnic competition. Mobutu then went on to demand that “delegates [to the CNS] represent only provinces to which they could be considered autochthon”.



The CNS lost the political battle the day it succumbed to this demand. In Ituri this logic was picked up and used by the Hema against Nande competitors. When a 1995 decree declared all Kinyarwanda- speakers as foreigners, the momentum of ethnic cleansing shifted from Katanga to Kivu. On 7 October 1996, the governor of South Kivu ordered all Banyamulenge to leave the country within a week, or else they would be interned in camps and eliminated.

I have often wondered whether Nigeria’s post-civil war constitution did not emulate the substance of Mobutu’s “geopolitique”, particularly in its inclusion of the “federal character” clause, requiring that key federal institutions reflect the federal character of Nigeria. As I understand this requirement, the key federal institutions are three: the federal army, the federal civil service, and federal universities. For these institutions to reflect federal character, enrollment is driven by a state-based quota system whereby the quota for each state is in proportion to its share of the federal population. Finally, the right to compete for this quota does not belong to all those who live in a state, but only to those who can claim to be “indigenous” to the state in question, meaning that not only they but also their father be born in that state.

It is possible that this provision was adopted as a form of affirmative action for those parts of the country which had lagged behind in educational and social development during the colonial period and that its purpose was to ensure them fair representation in key federal institutions, one proportional to their weight in the population. The question I have in mind does not concern motive, but consequence. My question is: have the unintended consequences of this provision – its costs – come to outweigh its intended benefits for Nigeria?

The federal character principle has extended the colonial principal of Native Authority to key institutions in the federal state. Its unintended effect has been to turn federal citizenship into an extension of ethnically-defined membership of Native Authorities, thereby eroding it. By dividing Nigerian citizens into “indigines” and “non-indigines” – not of Nigeria but of individual states – for purposes of participation in national institutions, it has disenfranchised a growing number of Nigerian citizens, those who do not live in the states where they were born.

That Nigeria is increasingly integrated into a global economy, and has been the subject of market reforms, has intensified the contradiction between the market and the state as currently organized in Nigeria. The tendency of the market economy is to move more and more strata of the population away from the locality where they were born. This includes both rich and poor Nigerians: on the one hand, businessmen, industrialists, and professionals, and on the other, unemployed workers and landless peasants. The state system, in contrast, disenfranchises precisely those who move. The state system penalizes precisely those the economy dynamizes. The least dynamic sectors of the population respond to this situation by calling for a defense of their “customary” rights, and the most dynamic rally around the principle of a “national” citizenship. One lesson of Congo and Sudan is that it may be time to rethink the legacy of both the colonial past and the reforms you undertook to end the civil war.

Sunday, February 28, 2010

Odia Ofeimun bags the Fonlon-Nichols

Congratulations to Odia Ofeimun (who clocks 60 in March and for whom a Committee of Friends have organised the Mamdani Lecture, holding at the Nigerian Insititute of International Affairs in Lagos on 16 March - more about that and a host of other commemorative events, later) - who is the worthy recipient of this year's 2010 Fonlon-Nichols Award. Press release below.


Odia Ofeimun Gets the 2010 Fonlon-Nichols Award

Nigerian poet, essayist, journalist, and social critic, Odia Ofeimun has been announced as the 2010 winner of the Fonlon-Nichols Award. The award, administered by the African Literature Association, ALA, is given to an African writer every year for excellence in creative writing and for contributions to the struggle for human rights and freedom of expression, according to Dr. Oty Agbajoh-Laoye, chair of the ALA awards committee.

Mr. Ofeimun is the author of eight collections of poems and numerous essays on political analysis and cultural criticism. His most recent volumes include Go Tell the Generals, A Boiling Caracas and Other Poems, and I Will Ask Questions With Stones If They Take My Voice, and Lagos of the Poets, a poetry anthology. In 2008, Los Ninõs del Estero, a selection of his poems, was published in a Spanish translation in Mexico .

Ofeimun was born on March 16, 1950 . He published his first book of poems, the critically acclaimed The Poet Lied, at the age of 25. His career began as a journalist and literary correspondent with The Midwest Echo, a newspaper based in Benin , capital of present-day Edo State , in Nigeria . He has also had experiences as a factory worker, civil servant, and union organizer. After a stint as a graduate student of Political Science at the University of Ibadan , he was appointed as the private secretary to Nigeria ’s leading political figure and former presidential candidate, Chief Obafemi Awolowo, in 1978. Following the fall of the Second Republic , Ofeimun published A Handle for the Flutist, his second poetry collection. He also became a member of the editorial board of The Guardian ( Lagos ).

From 1989, he was a British Council fellow at Oxford University in England ; he lived in London and worked with Nigerian expatriates in the pro-democratic New Nigeria Forum until 1993 when he returned to Nigeria in the wake of the controversial June 12 presidential elections of that year. From this point, Ofeimun’s political and literary engagements followed two distinct but interconnected paths: he became the president of the Association of Nigerian Authors ( ANA ), and the lead columnist for the hitherto-clandestin e TheNEWS/TEMPO publications. His tenure as president of the writers’ body (of which he had been publicity secretary and general secretary between 1982 and 1988) coincided with the political crisis of the 1990s, and it has to be borne in mind that his immediate predecessor was the late writer and environmental activist, Ken Saro-Wiwa.

The annulment of the presidential elections precipitated the “stepping-aside” of General Ibrahim Babangida, Nigeria military president (1985-1993), and the rise to power of General Sani Abacha, under whose tenure the country experienced untold political and economic repressions. Progressive political opposition to the military dictatorship coalesced around the groups National Democratic Coalition (NADECO), the Campaign for Democracy (CD), and the Democratic Alternative (DA). Although his political connections were strongest with the first, Ofeimun dedicated his weekly columns in TheNEWS to championing and appraising the activities of all the three groups. Those classic pieces, including such titles as “The June Twelvers’ Dilemma”, “The Ngbati Press”, “On Whose Side are the Orisa?”, are remarkable for their robust illumination of modern Nigerian (and indeed, African) political and cultural history, and for their thoughtful eloquence as a most accomplished example of the concern of African writers for the lives of the majority in their societies. Ofeimun’s tenure as ANA president ended in 1997, but his relationship with TheNEWS/TEMPO continued for a little longer, peaking with the organization’s second period of “guerrilla journalism” (1995-1998).

In April 1995, while attempting to travel to England for a conference sponsored by the New Nigeria Forum, Odia Ofeimun was stopped by security agents at the airport in Lagos . Although they never succeeded in jailing him, the agents questioned him on his political and other activities, and his travel documents were confiscated. For the next three years he was unable to travel outside of Nigeria , and would not regain his passport until the period of “liberalization” which followed the death of General Abacha in June 1998.

In spite of these involvements, Ofeimun found time for creative writing. His career as a poet suffered undeniably from the crisis in the publishing industry, like that of many African-based writers in the 1980s and 1990s. In 2000, he published three volumes of poems: A Feast of Return Under African Skies, Dreams at Work and Other Poems, and London Letter and Other Poems. Ofeimun’s poems have been widely anthologized. His works-in-progress include the poetry anthology “Twentieth Century Nigerian Poetry”, the essay collections “ Africa ’s Many Mansions” and “In Search of Ogun”, and a long-awaited political biography of Obafemi Awolowo. Since Nigeria ’s return to civil rule, Ofeimun has become a highly-respected and much-sought- after opinion leader and public speaker, giving speeches to NGOs and other civil society outfits. He is a leading champion of human rights and anti-corruption crusades in Nigeria, and he remains steadfastly independent of political organizations in the country.

The Fonlon-Nichols award was established in 1992 to honor Bernard Fonlon and Lee Nichols for their own contributions to both African literature and freedom of expression. Past winners include Rene Philombe, Werewere Liking, Ken Saro-Wiwa, Nuruddin Farah, Nawal el Saadawi, Niyi Osundare, Assia Djebar, Abdullatif Laabi, Wole Soyinka, Pius Nganda Nkashama, and Tess Onwueme. This year the award will be publicly presented at the 36th annual conference of the African Literature Association March 10 - 14, 2010 to be held in the University of Arizona, Tucson.

Monday, June 16, 2008

Yellow Mountain Poets








After a week's workshop on poetry translations in Wales, Odia Ofeimun on other participating poets brought their poetry to the Purcell Room of London's South Bank Centre on 7th June 2008, in a night of readings celebrating 'The Poetry of the Yellow Mountain'. On the bill were Chinese poets Yang Lian, Wang Xiaoni, Luo Ying (who read an excerpt of his thought-provoking poem, 'The Last Person' in Chinese, then Murray Edmond read the whole thing in English), Xi Chuan (read in Chinese; then his work was read in English by Robert Minhinnick) and editor of The Poetry Review, Fiona Sampson.

  • Images by MW.

Monday, June 02, 2008

In London this week

Lost Writers @ Late - featuring Delia Jarrett-Macaulay, Courttia Newland and Susan Yearwood at the Museum in Docklands, London.
Thursday 5 June
6-9pm
Information here.
*
The Poetry of Yellow Mountain - Odia Ofeimun, Fiona Sampson and a host of Chinese poets will perform in the Purcell Room, South Bank Centre, London. The evening is tagged as a performance by poets who have been influenced by the Yellow Mountain Festival in China.
Saturday 7 June
7.45pm
Information here.

Saturday, March 08, 2008

A Message of Goodwill


I am glad to know that a selection of my poems is being presented today in Mexico. I would very much have loved to be present. It would have been like going home away from home if you recall some opinion polls which claim that Mexicans and Nigerians share some very strong traits. Thanks to the new technologies, to ICT, I am truly glad to be able to speak to you from Lagos at short notice. It is not the same as being present. But it is the closest to being with you in person.

The new technologies throw bridges across the world as poetry has striven to bridge the hearts and minds across time and space - from generation to generation - bringing people together to share common sensibilities and a common morality. It is my hope that this little collection, Ninos del estero, will say something to Mexicans and the Spanish speaking world in a way that strikes cords of thriving empathies.

Thankfully, my translator is the best I could have got. Every Spanish speaker who has encountered Maria Baranda's translations has marvelled at the proficiency of the performance. To have the luck of being translated by such a wonderful poet is like winning an award. I do feel like a prize winner. To crown my luck, we have a daring publisher who has put services to artistic value above immediate commercial success.Poetry continues to enjoy a rootedness in the world because of such great souls. They are saving a risk for culture upon which human civilization depends.

Our publisher, Mala Vida, deserves applause: as does Maria Antonieta Flores, the Venezuelan poet whose words and interpretations have preceded me into several Latin American countries. I want to thank her and all of you present for taking poetry seriously enough to stand by one poet from very far away. I see your fine gesture as a challenge to continue doing what poetry has done down the ages: to seek to purify language, enhance music in speech, and sustain the sisterhood of all tongues.

Although I cannot be with you in person, I see your presentation as an early but special gift on my 58th birthday which comes up 16th March, 2008. I am highly indebted to you all. I salute your love of poetry and your goodwill towards a mere maker of metaphors.

May you have a good road under every sky.



Odia Ofeimun

(8th March, 2008)


  • Message sent by the poet to the presentation of the Spanish translation of his "Children of the Creeks" - held today at the El Palacio de Cortés in Cuanavaca, Mexico.

Sunday, February 17, 2008

Poesía de Medellin


How is this for a love of poetry? Football capacity crows in the open air at the Festival Internacional Poesía de Medellin, Columbia.

Thursday, December 20, 2007

Taiwo Ajai-Lycett



“As a young man, Joseph is taunted by the cooler British-Caribbean kids for his accent and his humility. Ditching his Ghanaian heritage, Joseph becomes Joe, an icon of urban Black identity. Premier league clubs, venal agents and one-night women all want a piece, but one night in a hotel room with the lovely Lauren and it all gets out of control. As the abyss opens, Joe discovers how much he has lost and how little of him remains.”

So goes the intro to Roy Williams’ Joe Guy, a play about African and Caribbean tensions in the UK, which played at the Soho Theatre, London, from 23 October to 24 November. The play rang too uncomfortably true in places, as Joseph suffers vicious taunting for being African. He takes the easy way out and ‘loses’ himself, transforming into the fast talking and very ‘urban’ Joe. He is played by the actor Abdul Salis, and we caught up briefly with him after the performance of 2nd November. By ‘we’ I mean myself, dancer Bolaji Badejo, actress Taiwo Ajai-Lycett and the Nigerian Guardian’s chief correspondent in London, Tunde Oyedoyin.

Let’s start with Bolaji Badejo (wife of choreographer Peter Badejo), who features as one of a trio of dancers on the cover of the book of Odia Ofeimun’s ‘Under African Skies’. As a member of the Pan African Dance Ensemble, Bolaji Badejo toured 14 UK venues (including the Queen Elizabeth Hall and Sadlers Wells) from May to November 1990.

It was great running into grand dame Taiwo Ajai-Lycett again at the Joe Guy performance (we first met at the 2005 Lagos Book and Art Festival at the Onikan Museum in Lagos). An actress on British television since the 70s - many will remember her as the thread-wrap-hairstyled beauty in the YouTube clip of ‘Some Mothers Do Have ‘Em’ – she’s back in the UK. Fresh from her role in Streetwise Opera’s production of ‘Critical Mass’, which played at the Almeida Theatre earlier this year, Ajai Lycett talked about about her plans for more acting roles this side of the world as Tunde Oyedoyin and I walked her to Oxford Circus Station at the end of the evening. Suffice to say, you’ll be seeing more and more of the lady in 2008.

  • Images by MW

Monday, June 18, 2007

An Orange Revolution - in words & images


Chimamanda's Night of Glory
By Molara Wood


As widely predicted, Nigerian writer Chimamanda Ngozi Adichie triumphed at the 2007 Orange Prize for Fiction on Wednesday night, winning the award for her second novel, Half of a Yellow Sun.

Going to the Royal Festival Hall venue of this year's ceremony, one could be forgiven for missing one's way. The prestigious centre of the arts on the banks of the River Thames had been closed for some time, and scaffolding was still up around the building and doorways were sealed. Guests had to walk around the building. But once they got to the functioning entrance, it was splendour all the way. The Royal Festival Hall would be officially re-opened to the art-going public in just two days, but the Orange Prize Ceremony allowed a magnificent preview.

Two Olympic style flames burned on either side of the expansive orange carpet that led from the sidewalk into the venue, up the wide stairways and all the way to the Ballroom in the belly of the Royal Festival Hall, where it was all going to happen. It was already teeming with people, with more arriving by the minute. Made up mostly of writers and book lovers, it was at least a more representative crowd than the Shortlist Readings, which took place the night before in the Purcell Room, part of the same South Bank Complex that includes the Royal Festival Hall.

The Shortlist Readings of Tuesday 5th June saw a sold out audience made up of mostly middle class white women. And very few men. As for the blacks, there were only five; four women and one man. The reading went well, but the night ended on a sour note for Chimamanda Ngozi Adichie, who finished signing autographs only to find that her bag had been stolen. The author lost her personal effects and, painfully, a notebook in which she had written preparatory notes for her next novel.
But when Chimamanda arrived at the Orange ceremony, nothing in her bearing betrayed the upsetting loss of the night before. Wearing a cream dress with a bold red midriff sash made from the same material as her headwrap, she looked every inch a winner. It was a long road from the 2004 Orange Prize, for which Chimamanda was short-listed, for the first time, for her debut novel, Purple Hibiscus. She was relatively unknown then, and left empty handed as Andrea Levy scooped the prize. Much has happened since, and Chimamanda is now a bonafide literary celebrity in her own right on the international stage. And in the run up to this year's prize, British bookmakers William Hill and Ladbrokes made her the odds-on favourite to win. Chimamanda, still only 29, was the woman to beat.
'
As the ceremony began, Orange Prize co-founder and honorary director Kate Mosse, took the stage to declare that this year's was one of the best-selling shortlists ever. The paperback edition of Half of a Yellow Sun alone has sold 187,000 copies in Britain since its release in January. With a line-up including Kiran Desai (short-listed for her Booker Prize winning novel, The Inheritance of Loss) and Xiaolu Guo (for 'A Concise Chinese-English Dictionary for Lovers'), Mosse told the gathering that this was also the most international shortlist ever, "with representatives from every continent."

Flying the flag for the whole of Africa, Chimamanda watched as the preliminary awards were announced. A trio of shortlisted authors, Guo, Rachel Cusk (Arlington Park) and Joanne Harris (The Observations) kept each other company nearby. Desai, wearing a stunning Indian sari, was further away in the gathering. Completing the shortlist of six was Anne Tyler (for Digging to America) who was not present. According to the chair of the judging panel Muriel Gray, Tyler is "notoriously reclusive and never leaves Baltimore." Representatives stood in for Tyler at the reading and at the award ceremony.
The Orange Award for New Writers came first, and it went to Karen Connelly for another war novel, "The Lizard Cage", set in Burma. As she read a prepared speech, I leaned over and asked Chimamanda if she too would read from a note on winning. The author replied that she had no speech prepared. "Being favourite is the kiss of death," she said. "I will not be surprised if I do not win."

We didn't have long to wait, because Muriel Gray was soon back on the stage to announce the big prize. "There is absolutely nothing controversial about this year's shortlist," she declared, informing that the judges (including seasoned profiler of African writers, Maya Jaggi) were unanimous in their choice of winner.

Then Chimamanda's name was called out, to sensational reactions in the Royal Festival Hall Ballroom. The author went on the stage to accept the limited edition winner's bronze statuette known as the "Bessie" drawing laughs when she declared herself happy to take home "this little thing with its cute breasts." She mentioned that, "Writing is the only thing I really care about," and added that she had to go and make a call to her family in Nigeria. Chimamanda's editor, Mitzi Angel, later described the author's onstage performance as "poised" and "controlled" - adding that, "She does the same in her writing. She is always thinking, and she cares deeply about her country. She will become one of the most important writers in the world."

In the razzle and dazzle of cheers and press photographs that immediately followed, Kiran Desai was the only shortlisted writer who got the chance to congratulate the new Orange prize winner before she was whisked away from the gathering for media formalities. Others would have to wait until her return, but the Nigerian writers who had come to support their own, were allowed to accompany her through a series of behind-the-scenes interviews and photo-calls. The Nigerian party comprised scholar/writer Wale Adebanwi, journalist Tolu Somolu and myself; all three of us were at the Orange ceremony three years before, when Chimamanda first appeared on the shortlist.

Poet Odia Ofeimun, fresh from his participation at the 12th International Poetry Festival in Cuba, had stopped over in London to attend the Orange ceremony. He said of Chimamanda's win, "It is a confirmation of what the world always knew, that good literature comes from Nigeria. She is a very good representation of the best that comes out of the country." Ofeimun added that, "There is this wise old woman's way to her youthfulness, which makes it imperative that we listen to her. The great thing is that she is very young and has a huge future ahead."

Adebanwi, who interviewed Adichie on the publications of both her books, said, "I am very excited because I knew it was only a matter of time for Chimamanda to win a big prize." He observed that, "She's got the capacity to tell the traditional African story by the moonlight with a refreshing modernity that is extremely powerful. We should be proud of her." Adebanwi felt that the theft of Chimamanda's handbag was strangely prescient. "Maybe losing her bag was an indication of a new story. What was taken away yesterday has been returned in a wonderful way today."

Chimamanda herself had seen the bag's loss as a bad omen. "I was thinking: this is not good." Winning the prize however, made her "very happy." She had come off the stage before realising that she didn't thank some people publicly, especially her editor Mitzi Angel. "Writing is something you do alone," Chimamanda said, "and it takes other people to help make things happen. I've been very fortunate to have Mitzi who understands my work."

The feeling is mutual for Mitzi, who never doubted that Chimamanda would reach the heights. "I feel very privileged to be publishing her." Asked if it had been a risky venture taking on a then little known Nigerian female writer, the editor replied, "I don't think of it in terms of risk. If someone's a good writer, it will become obvious to everyone. To me, Chimamanda was ahead of her game."

The author's publicist, Michelle Kane, had a strong feeling that she would win. "She is an extraordinary voice. It was time for her to be recognised and it was shown tonight. And she won it!"
And won it, she did. Asked what she thought her Orange triumph means, Chimamanda replied, "I hope it will open more doors, not just for Nigerian writers, but for African writers. I hope African writers will see this and think that they can do it too. I remember when I was looking for a graduate programme in the US, and I saw that Edwidge Danticat had been at the same place; I immediately felt that since she had been there, I would be fine too."

The Orange Prize recognises excellence in women's writing, and the author's mind went to her fellow Nigerian female writers. "We are taking over from the men!" she declared.

We the Nigerians present had unrestricted access as Chimamanda gave radio and television interviews. She answered questions and posed for photographs while we sent frantic text messages to writers and artists in Nigeria to communicate the news. Kate Mosse came in with the winner's £30,000 cheque, a part of the ceremony that had been accidentally missed out on the stage. And so we were among the few witnesses to the belated presentation of the cheque, which made it all the more special.

Prize-winning Zimbabwean writer Petina Gappah phoned through on my mobile and became the first to congratulate the new Orange winner by telephone. And there was still that phone call to the Adichie family to be made. But first, it was back to the ceremony in the Ballroom. Among those waiting to congratulate Chimamanda and talk with her, were: Zadie Smith (2006 Orange winner), Andrea Levy (2004 winner), Jackie Kay, Margaret Busby and John Agard. There was a wonderful evening ahead and - as many predicted on the night - a great future. In the end, it seemed clear that Chimamanda Ngozi Adichie's Orange Prize triumph had never really been in doubt.

  • Words & images © MW

Tuesday, May 08, 2007

The Yahoo Generation And The Triple Tropes Of Sleaze


BY DAMOLA AWOYOKUN

“The old is dying and the new cannot be born; in this interregnum there arises a great diversity of morbid symptoms.” - Antonio Gramsci

“You, who was born for poetry’s creation,
Do not repeat the sayings of the ancients.”
– Anna Akhmatova

“The will of man is beyond surrender.” - Wole Soyinka

“Why is the first window that opens out on this fictional world the consciousness of an idiot?” - J.P Sartre on William Faulkner’s The Sound and the Fury.

I
A writer’s business is to voyage into and take up commands at the threshold of consciousness; and report back freely the news of what is there. This is why the writer in any society being a freelance explorer of spiritually dense zones gains a certain license to behave differently from other people, to be eccentrics in order to fulfil the singularity of his/her vocation in the society. The definition of madness is arbitrary and at most political. The term madness fixes limits and could be exploited for alienating and repressive use; the frontiers of madness define who is ‘Other.’ The exemplary writer is a broker in madness because therein lies the powers of the new. And so when a writer accuses the other of being mad, we should ask what is his definition of madness? In the service of what idea is this definition and in whose interest is this idea?

I read with dismay Odia Ofeimun in his poem Anarch of Hubris (Sunday Mirror, 25 June 2006) deeming Chiedu Ezeanah, a younger poet, a mad, drunkard, morally irresponsible individual who mortgages resources for his wife and daughter to red-light captains simply because Ezeanah self-assertively queries Ofeimun in a soki poem,
The Spinner of Dialectics (Sentinel Poetry, #43, June 2006) on why Ofeimun had to release larger doses of himself into his private life. Interestingly, their use of poetry as such flows from the tradition of the neoclassical poets: John Dryden, Alexander Pope, Jonathan Swift, William Congreve and such use had spun brilliant masterpieces like The Rape Of The Lock, MacFlecknoe, The Dunciad. Had I not reckoned the physics of paradigm shift and boundary maintenance, I would have disqualified my mind and pen from the fray. The godfatherly overstretch is a figuration in the process the older generation employs to pollute the progressive conditions that make vigorous, serious and necessary literature viable. The new Nigerian writer even before s/he is born or converted to one is already encumbered with the triple tropes of sleaze: enfeebling tuitions, philistine criticisms and standards, and insidious paternalism.

Unfortunately, Ibadan has yielded reluctantly its esteemed place as the capital of Nigerian literature and literary criticism to Lagos which unlike the days of Ibadan, is too considerate, obedient, compliant, kabiyesi-ish, worshipful, offensive to life of significant contentions, germane to received and comfortable positions and attitudes, and more about literary politics and self-posturing than critical vitality and qualitative literary tradition. In fact Lagos is an Absurdistan where to write and to line up are synonymous verbs; whereas continual rebellion is the driving force of aesthetic dynamism. Ever since this change of seat, there has being just one man, a Don, who does not entertain questioning, whose over dozen year dictatorship coincides with the inevitable loss called ‘the lost generation’ and his own inevitable literary leanness.[U1]

Says Helon Habila: “Odia Ofeimun was probably the most influential and the most visible poet in Nigeria. He was something of a cult figure among young poets, and few poetry books were published in Lagos during the 1990s without his name among the acknowledgements.” (Granta 80: The Group). He later adds: “Some of my friends advised me to get close to Odia Ofeimun, because in Lagos he decided who won which competition.”

Undeniably, Ofeimun cannot ‘blind himself to putrefying carcases in the market place pulling giant vultures from the sky’, nor can one refute that The Poet Lied is not a cherished addition to the Nigerian canon, nor that Ofeimun in Postmodernism and the Impossible Death of An African Author is not of obese intelligence, nor that Ofeimun of Imagination and the City is not a superb literary archivist. Chinua Achebe offers a good paradigm in Arrow of God where the people of Aninta set fire to and crush their god because he refuses to serve them and in its place installed another god. More pertinent here is the Yoruba mythological paradigm of Atunda, the first insurrectionary grand iconoclast. At the birth of time, his revolutionary initiative of rolling a stone over his master Orisanla (god of purity and father of the gods) disintegrating him - the original godhead into countless debris so that there is not just one god but many gods. That action liberated humanity from the divine tyranny of theism and monotheism. It inaugurated continued gustiness, revolution, fragmentation, individuality vis-à-vis heterogeneity and their other polysemic significations which in the Ibadan days of actively progressive scholarship were the impelling credos not only in spirituality but also the choice of literary teacher, mentor, critic, muse, discipline, genre of fiction or type of literature, worldview and epistemological system.

The scene changes to a venue of the Lagos readings of Sefi Atta’s Everything Good Will Come in October 2005. From the floor came a comment from the chairman of a big publishing house: that some days before he was terribly disgusted to see someone deliver a public lecture with a laptop. He was alluding to Dele Olojede, the Pulitzer Prize co-winner who rendered a lecture during NLNG award ceremony. The question is: what is bad in the new possibility of giving a lecture from a laptop? How come this ‘experienced mind’ in literature obstinately persistent in things of the past, whose interest is not magnetised by a dosage of custom-bending features which is what imagination and creativity is all about be a juror of literary prizes? Even more. His company feeding on past glory has not discovered any new writer in the last 20 years. The textbook publishing that is their staple is a process of recycling annually old textbooks that are long overdue for revision. The company like all others (Macmillan, Heinemann, Longmans, Evans, University Press) are yet playing notorious roles in keeping the WAEC and NECO literature curriculum reading lists caked. To mention a few. For African prose, on WAEC’s syllabus, the newest title is Buchi Emecheta’s The Joys Of Motherhood (1979) and on NECO’s (founded 5 years ago) Animata Sow Fall’s A Beggars Strike. For African Drama, on WAEC’s is Athol Fugard’s Sizwe Bansi is Dead (1972) and on NECO’s, Ngugi wa Thiong'o and Micere Mugo’s Trial Of Dedan Kimathi (1976).

Students are in all directions fed cognitively with information, themes and atmospheres that history has overtaken and left museum caryatids. Whereas when those books were enlisted, they were refreshingly and contextually relevant. When Odia Ofeimun first appeared in Idoto, the University of Ibadan English Department journal in 1975 and was again included in Wole Soyinka’s Poems of Black Africa (1975), the curriculum quickly accommodated the young poet as the latest happening to literature worth studying. Can the embalmed syllabus do the same today to bombs like Rotimi Babatunde, Kunle Okesipe, Tolu Ogunlesi or a Chimamanda Adichie?

II
Charles Nnolim’s essay, Contemplating Contemporary Nigerian Fiction (Guardian Friday, 5 August 2005) wherein he abducts new writers into a ‘flesh school,’ upbraids their works as flattering debauchery, corruption, irreligion and lacking fidelity to any serious theme or ideological commitment unlike the first generation of African writers (he broadens to Africa) who had as their theme: “the fight against apartheid and colonialism.” For the second generation, the fight is “for social equality, for feminism.” For the third, (he narrows to Nigeria) there is “no clear thematic focus. If anything they depict a people adrift, hedonistic, cowed…people lost in the imbecility of futile optimism, hoping that materialism and the pursuit of dirty lucre will compensate for the nation’s soul.” Nnolim discloses himself as a puritan like the Victorian critics who treat literature like a branch of moral argument. Any critic is entitled to his own wrong judgment, but certain lapses of judgment indicate a copious sensibility deficit. And they are not just isolated mistakes of judgement, but are proposing standards that call for assent.

Literature is special; it accommodates any level of language, any plot, any style, any ideas, any information. In short, it is open and free. Politics is ideological. Religion is dogmatic. Why should literature be stimulated along some predetermined patterns or goals even when the goals are considered desirable for the health of the society? Why should the fluid operations of the creative mind be constructed around certain frameworks of ideological intent or around the exigencies of engagement?

The responsibility of writers is to make an ingredient out of their immediate surroundings. Quality comes from the creative processing of this fund of ingredients, his speculative - probing relationship without declaring at once in advance ideological relations to this fund. To enlist literature at the service of an interest or ideology, in effect is bound to impose an intolerable strain on the imaginative faculty.

It is inaccurate to sum up the outputs of the first generation as motivated by a predetermined commitment; they were just prima facie interested in how the colonial encounter has shaped the culturalscape for good or ill. Ditto for the second generation. The honour of literature is its capacity to pay attention to and develop a quarrel with(in) the social order and this is the unifying sensibility at work in writings across the genres and across the generations in the trajectory of Nigerian literature. A body of literature from diverse writers historigraphically unified only by time is insusceptible to easy summaries and categorizations. It is replete with complexities, tensed with (sub) thematic contradictions and every of its walls are unavoidably fluid. The critic must have those in mind as an operational background.

The figures of this different generations have not stop writing. And more, many have published works in generations not designated as his/her own. Flora Nwapa, Gabriel Okara, Buchi Emecheta, J.P. Clark, Chinua Achebe, Festus Iyayi, Tess Onwueme, Femi Osofisan, have published works up till the later generation(s) and the have concerned themselves with realities, visions and anxieties of these later generations. This makes the man-made partitions of generational grand themes shift about and crumple making room for the project of intertextuality, collective dialogue across time. Such that when Nnolim says that the first generation burdened itself with ‘the fight against apartheid and colonialism’ it is easy to look at their later works and see no such fights but the current zeitgeist. When he says the second generation press their work as vectors of ideological theories, social justice, and feminism, it is easy to look at their later works as see no such thing but the status quo. And so when he says the new Nigerian writing is replete with hedonism, corruption and idioms of debauchery, it is easy to recognize the older works’s ‘grand themes’ resonating similarly. Ejike Eze’s dalliance with Ndidi in Omo Uwaifo’s Fattening House (2001) is no less debauched than the adultery involving Adisa and Obofun in Festus Iyayi’s Violence (1979). Chim Newton’s otherwise mediocre imitation of Tolstoy’s Anna Karenina, Under The Cherry Tree (2003) is no less about debauchery than Mongo Beti’s Mission to Kala (1958), or Matei Markwei’s 1964 poem, Life in our Village. Maik Nwosu’s Alpha Song (2003) is no less about a country adrift, prurience, and inveterate beering than Soyinka’s The Interpreters (1965). In fact J.P. Clark, a first generation eminence, started off his non-fiction narrative, America, Their America (1964), “a book that established him as an able journalist, a keen social observer and critic,” with an account of himself, a willing participant, in bed with a call girl.

Alpha Song, the monstrance of Nnolim’s observations can be better assessed as a ceaseless quest of a deeper meaning to life than that given by the instincts and superficial affections alone or read as some allegory of a gnostic conflict of the spirit and body, the depletion of the possibilities of life of the mind by those in power whose day policies not only enlarge the army of the night but also lengthen night itself.

Soyinka in 1972 was part of the jury together with Lewis Nkosi and Martin Esslin that commended Jagjit Singh’s play for BBC African performance, Sweet Scum of Freedom, for “daring to [put] a prostitute into the centre of a play without moralizing about it,” and for “successfully point[ing] out that flesh seems to transcend the basic superficial prejudices.” The life of a whore is the most radical metaphor for the act of lending oneself to others. The ultimate the armed forces, the politicians, the religionists with the omnipotence of their God, the human rights and democracy activists at home and abroad, and the concerned international community could not execute to forestall the impending doom General Abacha was dragging to the nation, prostitutes did it. They offered liberation to a nation of 130 million people! The deed of course becomes a metaphor; a revalidation of the role of red light activity in the society and hence an asset to the literary imagination.

Charles Nnolim is a professor of authority who moulds young minds and he happens to be a judge of literary prizes so he matters. The coy self-textualization of the ravaging impact of the cancerous mushrooming of churches on himself is obvious when he urged on his view against the new literature in the final peroration with which his essay concludes. “In spite of the proliferation of churches,” he writes, “God is dead in recent Nigerian fiction, completely edged out by materialism and Epicureanism… No major character in new Nigerian fiction goes to a religious service on Sunday and none kneels down to pray for God’s intervention in moments of crisis.”

This ghastly religious newspeak criticism deserves a little ancestry. In Nigeria, every minute is being reworked into a Sunday and a Friday. A weirdly increasing number of offices devote enough time at mornings to praise worships. Once you dissent, you are linked to hubris and any failure in that office. Yet in these alternative religions – Christianity and Islam inhere the most powerful and most organized force for anti-intellectualism and ecumenical philistinism. Not in their fanatic varieties since no distinction is evinced between the mainstream and the fringe when it comes to their catechesis on matters of thought and the cultural heritage. While Islam proposes alarmingly growing limits to the influence of literary imagination and places veto on impermissible thoughts, Christianity proposes rigid moralism and spiritual correctness. According to the prevailing Christian diagnosis of the Nigerian socio-political and economic condition, the decay started in 1977 when Nigeria hosted the Festival of Black Arts And Civilization (FESTAC 77) and from far and near “we allowed evil spirits and gods to be brought and worshipped from all over. So God has decided to punish us.” The native mode is always divined to be in sinful competition to God, the disseminator of evil spirits and maledictions. In 2001, Obafemi Awolowo University Ife hosted the 7th World Congress of the Orisha. Barely a week after, different Christian groups comprising lecturers and students mobilized for a mass crusade to sanitize the campus of all horrendous principalities of cosmos the congress had invited, to prevent students’ deaths, secret cultism, exam malpractices, and all evils that allegedly blaze the heels of such gatherings. One of the neo-textual by-products of this prowling irrationality in the field of literary criticism is Nnolim’s charge. Again says he: ”even with the proliferation of churches, God is dead in…no major character in new Nigerian fiction goes to a religious service….none kneels down to pray for God’s intervention in moments of crisis.”

This is equivalent to a piece of cheap proselytizing for a mere metaphysical possibility. None in Nigerian literature has done such and there is nothing wrong in never doing it. Because in life and literature, the budding generation does not will to bend or kneel down and commune with an almighty, Prof Charles Nnolim like Papa Eugene Achike in Purple Hibiscus’s opening spark “flung his heavy missal across the room and broke the figurines on the étagère” just because his irreverent and irreligious son, Jaja “did not go to communion” on Sunday.

The intellectuals, military, politicians, civil servants, and business gurus who ravaged Nigeria and set a standard of thorns for the young actively grace churches and mosques yet do not reckon any sin in wrecking the country and to distract, they employ godot tactics by urging the masses - their victim, to call on God, a force outside of history for solution. Toni Morrison’s Nobel acceptance lecture captures the emerging fire precisely: “Our inheritance is an affront. You want us to have your old, blank eyes and see only cruelty and mediocrity. Do you think we are stupid enough to perjure ourselves again and again with the fiction of nationhood? How dare you talk to us of duty when we stand waist deep in the toxin of your past?”

Much of the continued authority of prevailing literary standards is devoted to upping the threshold of what is terrible. The 2004 maiden edition of the NLNG prize could not be awarded because the judges discovered that all their shortlist was complete with errors. The shortlist is included in the matrix of fiction Nnolim’s essay chastises for lacking ideological focus et al. Though the judges still noted that the plagues of the previous year were active, Gabriel Okara’s The Dreamer, His Vision emerged as a co-winner. It was praised for having “a moral and spiritual meaning,” and “does not shy away from making political statements on the civil war and the devastation in the [Niger] delta” [my emphasis]. With its extant engaged standards, neither Shakespeare, nor Kafka nor Garcia Marquez’s Love in Time of Cholera, nor Hunter Thompson’s Fear and Loathing in Las Vegas, nor Philip Roth’s Portnoy’s Compliant (a story strong on some details of masturbation and other sexual adventures) nor any book with anything homosexual no matter how splendid it is treated can win the NLNG Prize. And we wish to have a respectable literary tradition?

The Pat Utomi Prize states that no work that has won any award elsewhere should be tabled in order to help other writers - financially of course. If a book has won £1000 commonwealth prize, or a N30, 000 ANA third place prize, or won a non-cash Farafina Online award, it cannot win the Pat Utomi N1million prize. By saying that, the prize has little or nothing to do with fostering literary excellence enhanced by comparative evaluations that is the purpose of judges. All things being equal, even if all judges are geniuses, they are prone to subjectivities. That a French book wins the Goncourt does not imply the Prix Novembre is its. More if the intention is to make easy room for younger writers, it is ruinous. Every distinguished writing career started as a personal quest to beat the status quo.In the UK, Zadie Smith’s On Beauty (2005) trounced established writers like Nobel Laureate J. Coetzee and Salman Rushdie to the shortlist. Adichie’s trounced heavyweights like Margaret Atwood to the 2004 Orange Prize shortlist. If a book is really great, it deserves to garner all the prizes available. This enriches standards. Other writers should submit themselves to self-punishing tutelage and harder work. The architects of the Pat Utomi prize can create grants, sponsor advances and fund writers’ resorts instead of the current magun (don’t climb) practice. It spells a greater peril. A prize should be designed chiefly to boost the readership of a book rather than enhance the financial station of the author.

Deola Bello, an emerging voice of the Yahoo generation continues the narrativization of this new sensibility in her poem The Quest (Farafina Online, January 2006) which is not expressly an endorsement of an ideological vision or the valences of cultural exocentricity but of the quest for irreligion, creative autonomy, free education, and liberation from the seductive shackles of prizes. The Quest, a statue of liberty, is worth full quote:

If it is true that I am a weed without roots
Flowing on the river with the whims of the wind
If to the beat of Bata I won’t dance
But instead sit at the sides and observe
Then let me be
In peace leave me.
The bat that refuses to fly except at night
Must have a reason for keeping malice with Sunlight
Tarry with me a little longer in a little madness
And I will show you the wisdom of folly.


If it is true that I refuse to make a sacrifice
Of three wraps of pap sprinkled with palm-oil
And placed in a calabash made of mire
To gods I know not who tarry at crossroads.
I will rather eat my food late at night
And go to bed with a full belly
After sacrificing to my stomach
But what about that calabash and the pap
That I saw at crossroads
It is most disgusting, I refuse to touch it

This is the reason why I sit in your midst
Telling you a parable, the story of my life
Like a sword, I assure you its sides are two
For come nightfall the little dancer will surely dance
To the fine rhythm of a choice Samba by night
Gather round folks, let’s make merry
For here, behold the quest ends.

The new Yahoo writers must not allow themselves to be captured by critics demand to express engaged, seminary or Sunday school literature or refrain from writing ‘blemished’ or ‘debauched’ works. Since great works are the best resources for a revolution –literary, intellectual or political, the new Yahoo writers should resolutely stand for literary and intellectual beauty in wherever spheres their imagination can see it achieved. They must will to be vigilant against all species of philistinism masking as political, moral or religious values as indices of literature. They must decidedly project an eternal antagonism towards the forces that wish to normalize repression and popularize censorship. They must defend the nobility of free thought. Like charity that must first start at home, the new Yahoo writers must get rid of the inner censor. Dissent is an asset.

In his gusty poem, The Spinner of Dialectics, Ezeanah lacing strong accusatory vibes in his 14-line couplets suggests that Ofeimun is fond of just rising up and leading the side of those who matters; that he enters himself into any discourse, spit vituperation on everything in order to meet a vituperative need (which is not dissimilar to Nnolim who spits Christian tirade against the new because he must meet a Christian need); that everything to Ofeimun is about a power game, a power show;that he would ‘gossip’ and ‘meddle’ in his tender marriage whereas he squeezes juices out of oranges and toss the remains into the trash can.

Ofeimun in his 143-line Anarch of Hubris scores a direct hit on the refusenik and attempts to cut him to shape. He saturates the verse with significations of Edgar Allan Poe and Arthur Rimbaud who were alcohol laureates and severe eccentrics:

Neither love nor charity can save him
from the night that takes his mind
When frothing malady spirits him
To the vomitorium….

Poet of hubris, fallen angel of clap-trap!
Not for nothing is he the self-flagellator
who, to blind the sun overhead, throws werepe
up the skies unready for his stem’s collection
of body-scratches until, squirming naked,
he break-dances into market-squares.


Comparing Ezeanah’s stint in the bank and accommodation problems to Rimbaud who abandoned versification for gun running and slave merchandise in the jungles of Africa:

he turns love of poetry, so often betrayed,
into a licence to kill, sell a little daughter
to jungle alleys…


Poe and Rimbaud we must recall are each a genius of the word. Unlike others, the stories of their severe eccentricities could only live because of their everlasting contribution to language. When he harks back to when Ezeanah together with other progressives worked for Arishekola Alao, an Abacha goon and eventually succeeded in getting shot during the ferocious anti-Abacha riot in Ibadan on 1st May 1998, Ofeimun of the barricades rightly carries placard:

he turns love of poetry, so often betrayed,
into a licence to kill,…… dance to nation-wrecking,
taste blood with wolves in comradely toast
yet rise…

Setting forth with the highly emotive, highly pitched pronoun, ‘I,’ and the syncopating jolt resident in it so as to facilitate a sense of terrific pride and indeed grandeur in his affairs with oranges, coyly suggesting they could be held accountable for his literary leanness, Ofeimun begins the second section of the poem:

I was a poet before politics
set the women at the pump
to braid my hair…


they steeled my muse
to temper time and ward off hogs
muddying the healing waters

I remain the poet who stood
with the women at the pump…


…my solidarity endures
with the women at the pump
who taught me to see…


The third part of Anarch of Hubris is typically repetitive and deservedly insipid but it is not without its jewels. First, Ofeimun tries to be contrite but with celerity changes his mind. An act of contrition is a product of grace, of humility but not of self-abasement. It does not diminish; on the contrary it confers integrity. It also carries with it the burden of avoidance of the initial error, of greater caution in negotiating the Southern Lebanon that originally blew up in one’s face. Second, in terms of speed, rhythm, and assortment of images, this lean section arrives at a sombre steadiness. Third, in the preceding section Ofeimun alerts us to significance of ‘women’ and ‘pump’ in his career graph. In this sombre section he illustrates the leanness. God forbid the ageing Ofeimun suggesting he wants to persist sitting like the poem at the middle of page with an abundance of unused spaces all around it. Ezeanah tactically hints that his contemporary relevance as a ‘writer’ rests on ‘tons of dusty manuscripts,’ not even manuscripts of poems or prose but just manuscripts. Wole Soyinka foresaw this tendency of leanness in the then talented young promise. In My Tongue Does Not Marry Slogans, published in Mandela’s Earth and other poems (1989), he derides Ofeimun whether it is ‘a passing inhibition’ or ‘an overdose of reality’ that ‘stuns the mind and beggars lyrics.’ Soyinka insinuates further that maybe it is his ‘brain’s fevered contest with the world.’ That world no doubt includes his Mandela-ing of the Lagos literary politics and other things.

Ofeimun drops a reference that can be taken as his diagnosis of Ezeanah. He toss the line ‘He’s at war/with himself’ under the overarching line ‘never ask me why’ – which together with ‘I will raise a fist to your guts’ are the shield and sword of his dictatorship. Of course we have to ask you why and raise fists to your gut. How could Ofeimun take liberty with memory, with history, with epistemology? How could he prefer to forget that this war with oneself is the primordial ordeal that made Ogun, our shared comrade, brother and ancestor, the Him of creativity? That it was from this inner conflict, this tragic symptom of creativity that the world itself came into existence as Soyinka delineates in The Fourth Stage. Has Ofeimun now truly forgotten the process of inspiration to production? Every creative work of art is a blast of an artist’s war with the inner self, the abyss of dissolution, those caves of the collective psyche. To be there, it requires high voltage courage outwardly called madness. The madness of the brave is usually the wisdom of life. Walter Benjamin theorized on the concept of Hashish - a series of protocols of drug experiments to achieve a depth psychology or chemical exploration of consciousness to re/illuminate experience, provide alternative coordinates of perception, interpretive/interpretative perceptives, and to catalyse the powers of language in which the creative mass usually or occasionally indulge. To take up positions at the frontier of consciousness, couple the infinite aspect of being to the chthonic abyss, and survive its terrors, Ezeanah has had profound ordeals with green daemons of froth. Ogun, under the influence of alcohol, [perhaps because hashish and tough chemicals were alien then, trust Ogun would have spontaneously subscribed to them] murdered friends and foes alike in the Battle of Ire. This uncancelled error enriches earth and myth because Ogun is compelled in atonement to visit earth annually bringing the seasons of harvest.

Can’t an artist choose to fervently subscribe to the Surrealist’s faith in the access to wider consciousness afforded by alcohol, dreams, drugs, sex, and asocial behaviours? I am not conceding absolute authority to the irrational but apprehensively conceding legitimacy to it being a sure route towards a new necessary mental planet. This planet gives light to new truths, new awareness and new conceptions.

Character Chiedu Ezeanah is a multimania no doubts. In this atmosphere of consensus, of phoney characters, Character Chiedu is a rare real thing. He is a connoisseur of indefinite expansion of the possibilities of freedom, of pleasures. Like Nietzsche who has been mad before he became mad, or Nikolai Gogol who lived his short life as a long psycho-illness, the obligation Nigerian literature requires from Character Chiedu is to invent trophies from his experience. Michel Houellebecq is variously described as ‘a zombie back from the dead telling us what he likes,’ chemically challenged, a bore, a severe drunk, a Fela with women, a reactionary, nihilistic, repulsive, funny, melancholic, but no one accepts him as dull. He is the star of French literature, the best contemporary French writer. Houellebecq said until he met fellow writers the most interesting people were inmates of mental hospitals.

So numerous are memorably interesting characters, great citizens of literature with grossly weird possibilities of themselves common in other world literatures that Nigerian literature lack but myriad in its reality. Think of Cervantes’s Knight Quixote and Sancho Panza, Saul Bellow’s Moses Herzog, Vladimir Nabokov’s Hubert Hubert, Gunter Grass’s Oscar Matzerath, Nikolai Gogol’s Chichikov and Aksenty Poprischin, Albert Camus’s Caligula, Garcia Marquez’s Femina Daza, Zadie Smith’s Samad Iqbal. Characters like these are priceless, sociologically, they are amunludun, without which existence will be bore or sore. How could writers of the new sensibility then be blind to literary possibilities of an ace like Character Chiedu Ezeanah and hence defend its right to exist?

III
Oh yes there is a fresh impulse and a new sensibility that fits well into and add to the theoretical framework of Harold Bloom’s Anxiety of Influence. An ominous disposal of ‘fathers’ in emerging debut fictions are evocative of the new wave’s poise to belt fresh energies into the literary tradition come what may. Fathers or godfathers that lays down magun or embody ideas or fixes conditions with suppressive weight on the flowering of the new are necessarily murdered. I speak of Agu’s father, Commandant, and Luftenant in Uzodinma Iweala’s Beast of No Nation (2005). The young hero, Agu, lost his parents when rebels of extraordinary brutality led by Luftenant and Commander raided his village. Agu is recruited like other children as soldiers. After Faustian ordeals, the child soldiers revolt and shot the fearful commander and a child prostitute knifed Luftenant to death. They became free. In Everything Good Will Come (2005) Sefi Atta makes the self-assertive protagonist Enitan call her father a liar, packs out of his house before getting rid of his existence ultimately.

And more: the murder of Eugene Achike in Chimamanda Adichie’s Purple Hibiscus (2004). The arrival of Purple Hibiscus marked this overdue materialization of the new Yahoo impulse and concurrently it is its first harvest. Eugene Achike has a domineering spread in the entirety of the novel. In him reside the polarities of progressive humanistic sentiments and retrogressive coagulants. He is a widely adored philanthropist, he wins a human rights award, only his newspaper stands up to the corrupt, repressive and brutal military government of the day. To his wife and children at home, he is religiously glitzy and a chauvinist; he despises his delectable father, Papa Nnukwu as ‘a heathen’ because he sticks to his indigenous Igbo religion. In the end Adichie obliterates the household tyrant to allow his wife and children to freely breathe and ‘for the new rains [to] come down soon.’

To mobilize the regenerative energies for the new rains to come, genuine giants of Nigerian literature and their achievements are never considered impediments to emerging voices’ aspirations to originality or qualitative outputs as Bloom’s theory posits, only the poseur figures of speech are. Their insidious authority clenches its fists around the minds of the young.

Now that the forces of conformism and fatuous acquiescence to authorities have certainly been strengthened by the introduction of bosomy literary prizes (the NLNG, Pat Utomi, Soyinka Prizes), the Yahoo writers and critics should sponsor scepticisms, formulate questions and construct counter-statements to reigning pieties. They should will to bravely and maddeningly symbolize and defend a higher standard of literature. The Yahoo generation should no longer allow Nigerian literature respond to Mathew Arnold’s notion of culture that defined arts as the criticism of life (understood as propounding and referencing with moral, political, religious precepts) but as the extension or reinvention of life (understood as representing clamorous modes of vivacity). There is no necessary denial of the role moral evaluation. Only that the scale must change. It should become less gross, and what it forfeits in discursive explicitness, it profits from subliminal power. It is a move toward Kafka, that is, a move from the phenomenal, to the nuomenal, to the plane of regard. This is perhaps why Kafka’s works has been squeezed rightly into diverse philosophical and theosophical movements. I see his works as telling the time before the clock strikes. J.P. Sartre claimed them for Existentialism. Albert Camus claimed them for Absurdism. Max Brod claimed they are elaborate quests for the unreachable. That is the essence of literature: to be many things and nothing else since it is not subordinate to anything.

--*[UI]Are you now visiting the sins of the sons upon the father?

  • Damola Awoyokun, formerly an Associate Editor of Glendora Review & a former Managing Editor of Farafina Online - lives in Ibadan, Nigeria.