Tag: novelist

  • Novelist, playwright Akinwunmi Ishola dies at 78

    Novelist, playwright Akinwunmi Ishola dies at 78

    A renowned playwright, actor, culture activist and scholar Professor Ishola Akinwunmi has passed on after a prolonged illness.

    He died yesterday in his Ibadan residence at 78.

    Isola, who wrote the popular play Efunsetan Aniwura when he was a student of the University of Ibadan in 1961 died in Ibadan after age-related ailment according to a family source.

    “Baba has gone,” said the source, who preferred anonymity, because he was not authorised to speak on behalf of the family.

    “He had been sick for some time and was getting better. But this morning, he died peacefully. He left a good legacy and his life was a good example for mankind.”

    Oyo State Governor Abiola Ajimobi described the death as a colossal loss not only to his immediate family but to Oyo state, the Yoruba race and the world at large.

    The governor, in a statement by his Special Adviser, Communication and Strategy, Yomi Layinka, said that he received the news of the death of the Ibadan-born culture ambassador and progenitor of Yoruba literature with disbelief and utter shock.

    By his death, the governor said that the state had lost a venerated son of the soil, who devoted his life to the promotion of Yoruba culture through his creative works and huge contributions to the global body of knowledge.

    Ajimobi said: “The late Prof. Ishola was also a blessing to his Alma Mata, Wesley College, Ibadan because he composed the school anthem, which is still in use till date.

    “He was a man of many parts. Not only was he a prolific writer but he was also a talented actor and astute broadcaster who churned out many plays, drama series and box office films.

    “Prof Akinwumi Isola was an unabashed believer in the promotion of the Yoruba language, which he once demonstrated by being the first person to deliver a university convocation lecture in Yoruba at the Adekunle Ajasin University, Akungba-Akoko, Ondo State, which was very unconventional.”

    A friend of the deceased and chairman of Kakanfo Inn and Conference Centre, Dr Lekan Are, who also confirmed the demise of the professor of Yoruba and writer of several Yoruba plays, praised Akinwumi for his passion for Yoruba culture, language and tradition.

    Are said: “When his wife called me this morning and told me that Isola had died, I was shocked because I had visited him two weeks ago he told me that he was getting better. We had a vibrant discussion. He was excited to see me again.

    “This is why I was taken aback by his death. He was a brilliant individual who made Yoruba history popular beyond Africa.

    “He delivered lectures in Yoruba language. He wanted the language of Yoruba to feature prominently in our education system but unfortunately, this did not happen in his life time. May his soul rest in peace.”

    Also, a very close associate of the deceased , a  foremost

    cinematographer, Tunde Kelani confirmed the departure of the famous playwright .

    “Yes, Prof Ishola died this morning in Ibadan. He has been down for about two years now,” Kelani said over the phone.

    Ovation Publisher, Dele Momodu, also confirmed the death in a Facebook post.

    “Sad to receive the news that Nigeria has lost the legendary writer PROF AKINWUNMI ISOLA, my former lecturer and supervisor; author of O LE KU and EFUNSETAN ANIWURA and others… Rest in Peace Sir…,” Momodu wrote.

    Born in Ibadan in 1939, Ishola attended Labode Methodist School and Wesley College in the capital of the old Western Region of Nigeria.

    He studied at the University of Ibadan, earning a B.A. in French.

    He also earned an M.A. in Yoruba Literature from the University of Lagos in 1978 before commencing academic work as a lecturer at Obafemi Awolowo University where he was appointed a professor in 1991.

    Among his most popular plays are Efunsetan Aniwura, Madam Tinubu, Oleku and Olu Omo.

    His works Oleku, Koseegbe, Saworoide, Agogo Eewo and Campus Queen were adapted to film by Kelani.

    He worked with Kelani as a member of a trio of late Adebayo Faleti and late Larinde Akinleye.

     

  • 18 hours in Warri police cell, by novelist

    18 hours in Warri police cell, by novelist

    Novelist Aoiri Obaigbo is author of The Wretched Billionaire. He recently spent 18 hours in a police cell in Warri. His story:

    Like me, you may never see it coming. An invitation to Warri Area Command to hear a complaint by your customer could expose you to the experience of the trans Atlantic slave trade you thought was over.

    The first thing that hits you while you’re dragged in an incredulous state to ‘A’ Division cells in Warri is the smell. The smell of urine, of excrement and corruption.

    While you’re still wondering whether the travesty will stand, the stagnant pervasive mix of odours welcomes you. It’s 6 p.m.

    The baffling lack of any pretense to being unbiased is the most indelible memory.

    “I’m entitled to a phone call,” You had told the Investigating Police Officer.

    “Because I did not cease your phone, abi? Bring me that phone. Or do you want us to disregard your white hair?”

    “So a citizen invited for a civil matter may be detained and denied access to his lawyer?”

    “When you reach cell, your grammar go reduce,” she  says and impounds the phone.

    The first things you see in ‘A’ Division cell are rats. Fat, audacious rats that look you in the eyes and block your path. They hold their own even against the police, and silently insist on their rights. Hundreds of fat rats that fret over your nerves and wind up near your shoes.

    You join the crowd of young untried Nigerians waiting to be bailed or stripped of their clothes.

    Some have been beaten and you’re mindful of avoiding stains from their blood.

    A small crowd huddled together near the the corridor gate is reduced by one.

    Just when you’re counting him off, a group of special anti-robbery policemen,looking ferocious, drag in about five teenagers. “This na federal kidnapping,” shouted a voice from Cell 2. “Police Plc.”

    You’ll soon understand that comment. The group of five includes Philibeth, a young lady who hopes to be a writer in future.

    “What did you do?” you ask.

    “They haven’t told us yet.”

    “Where did they pick you up?”

    “I went to buy these CDs and was returning home in a Keke.”

    To heighten the tension in the youngsters, they called forth another captive.

    “Nobody to call, abi?”

    He was stripped to his discoloured brief and dragged to cell 3.

    “We are 10 already,” someone protested.

    “Shut up, fifteen people dey stay this cell.”

    After that show of power, they were all anxious to make calls. Some calling friends and pleading desperately on the phone. One offered to bail himself.

    “Oya, bring am, five thousand.”

    “Na three I get. Na three thousand them dey pay brickla’.”

    “Oya, make I sorry for you. Quick, before I change my mind.”

    The youngsters get bailed, until you have only two companions in the corridor. Philibeth says her father is ill. (Now dead as I write.)

    The boy whom you had erroneously assumed to be her boyfriend is soon released to his parents on bail.

    “Why haven’t your parents come for you?” you ask.

    “I saw my uncle a while ago. I think they are haggling about my bail.”

    Eventually, she bids you good luck and goodbye.

    Mopol is sweating and smiling from stripping, locking up and releasing bailed people from the cell or corridor.

    A tearful girl, picked with her two brothers, begs for N500 to complete her bail amount of N2000.

    On Wednesday, 12th October, 2016, business is booming.

    Eventually, they are less busy enough to attend to you.

    “There’s VIP accommodation. A cell to yourself. There’s even a mat.”

    This five star accommodation cost 4 thousand naira. You’re ordered to take off my shoes, socks, and wedding ring.

    “Can I pay to keep my shoes on?”

    “No way. Comot the shoes.”

    So, you’re expected to sleep shoeless on a mat with hundreds of rats parading the cells. No thanks. You opt to sit and count the seconds all night.

    The corridor has eight doors with iron gates. Three locked doors are conceded to the rats. They have large holes from which they dash in and out restlessly. Three of the cells contains 32 young men. One contained two women who quarreled with neighbours. Then my five star cell to which I preferred a seat in the corridor.

    The last youngster to be brought in at about 3 a.m. is a celebrity detainee.

    “This na your fourth missionary journey,” Mopol said.

    “If una no arrest me, how una go make money?”

    In your own case, when a lawyer and church brethren show up, you’re slammed with N10, 000 as bail.

    Does the Area Commander Muazu Mohammed know about the slave trading going on in his jungle?

  • Zimbabwe: Novelist Lessing leaves books to Harare library

    Celebrated author Doris Lessing has bequeathed her entire book collection to the city library in Harare, it’s been reported.

    The winner of the Nobel Prize for literature, who died in November 2013, apparently left instructions that her library of over 3,000 books should be sent to the Zimbabwe capital, Lessing’s executors say that Book Aid International, a charity that Lessing supported, has been asked to help transport the donation. Throughout her life, Lessing fostered several programmes in Zimbabwe to aid literacy through libraries and studying.

    Harare mayor Bernard Manyenyeni told the Zimbabwe Herald newspaper the gift was a “magnificent gesture” from someone who had taken “her love for this country beyond her death”. He says: “We have every reason to feel special to have earned this much in her wishes – we are delighted and grateful as any city would be.”

    Lessing lived in Zimbabwe from 1924-1949, when it was known as Southern Rhodesia. She returned there in 1956, but was declared a “prohibited migrant” by the government for her anti-settler sentiments and left-wing political views, New Zimbabwe says

  • ‘The novelist who came fully made’

    ‘The novelist who came fully made’

    Chimamanda Ngozi Adichie has once more dazzled the world with her stunning new novel, Americanah, which explores the world of America and Nigeria. With two young Nigerian lovers, Ifemelu and Obinze, at the centre of this epic tale, Adichie has further shown the world that she is indeed “a new writer endowed with the gift of ancient story telling.” Edozie Udeze explores her style, her world, her technique and why she has truly made a name for herself in world literary circle

     

     

    With rich tapestry of this story weaved around Ifemelu and Obinze, two Nigerian youths who fell in love at a time when the country was experiencing its worst military dictatorship, Chimamanda Ngozi Adichie has indeed set an incredibly readable novel that traversed the depth of social life both in Nigeria and in the United States of America. In this latest book, Americanah, she explores, for the first time, both worlds using the two vivid characters to demonstrate common issues that affect people in the two societies.

    But beyond Adichie’s ability in bringing to the fore the reasons why these two characters hovered between the two societies, she is not really crazy about life in the West. This is why she frequents home more often, not only to interact with her people but to also be involved in issues that affect the people. This frequent interaction and her uncanny ability to be in touch with her roots have contributed immensely to the success of Americanah and her other works.

    It also shows the travails of these lovers and what it took them to eventually become full human beings. The novel Americanah has been aptly described as a dazzling new novel, witty, powerful and depicting true love within the contest of a decaying society. The story goes beyond race and class, tracing the history of Ifemelu a young lady who defied all odds to fall in love with Obinze, even when they obviously faced terrifying challenges and mounting difficulties in Nigeria where draconian and inhuman laws were in place.

    The author’s deliberate attention to details here shows her as someone in total grasp of the social conundrum in Nigeria, East Coast of America and England. Her penchant for details marks her out as someone with omnivorous eyes, even when all situations seem to stare her in the face. This was why she cleverly opened the story with the vivid description of some cities and their locations in the USA. Some tranquil; while others absorb or badly planned.

    It is a story tailored to open people’s eyes to the world beyond Nigeria, a world where love has no hindrance or limitations. And so even in Brooklyn where there is sun-warmed garbage or Princeton which has no smell, America harbours its own peculiar social ills. It is a lesson to show the world that no matter where you are, some ills embedded in that clime can also dog your heels. But above all, love has a way of conquering everything.

    As teenagers in a Lagos public school, Obinze and Ifemelu found out that they could not stay apart from each other. It was such a story full of love that they both decided to damn cynics to be true to what they believed in. At a critical stage in that relationship, Ifemelu, very beautiful, self-assured and eager to overcome the world, departed for America to study. There, she discovered new trials, new triumphs, new people, new friendship and so on. Her new exposures opened her eyes to racism, to class differentials and other issues that troubled her fragile mind. Consequently, she became unsettled.

    On his own part, Obinze remained here in Nigeria after several attempts to join her did not materialise. In-spite of the difficulties of the moment, he was able to establish himself as a new democratic dispensation was ushered into the nation. Adichie did not also fail to highlight the brief undocumented life Obinze had in England before he finally set sail to Nigeria to become a ‘big man’ in due course. He realised, however, that East or West home is the best.

    Eventually, the two love birds met in Nigeria when Ifemelu came home to the gripping hold of Obinze. Yet even in the face of this renewed affair, the two still had some other very tough decision of their lives. This is why the story is fearlessly funny, tender, passionate, spanning three continents with various set of people who richly enrich and widen its contents and scope.

    However, the question that arises is this: Can an author easily detach herself from the story she tells. Adichie can not, in the strictest sense of the word distance herself from the details of the story. But with the ability to chronicle a rich story set across three continents, she has succeeded in opening new leeway and vistas of hope to a lot of immigrants and seekers of greener pastures. The story also mirrors her excursion into life.

    Adichie’s unique approach to details in her works, singles her out from the rest. This was why the late master storyteller, Professor Chinua Achebe described her as a writer who came almost fully made. In 2003 when she came out with her first book, Purple Hibiscus, she made it clear that her style and approach were meant to be different from the rest.

    The story of 15 year-old Kambili, circumscribed by the thick walls and trees of her family compound was given fresh zest by Adichie. While Kambili and her brother were sent away due to the fear in the community, there, they discovered that there was plenty of freedom and love in the society. With their strict Catholic upbringing to which the author was also exposed as a child, critics quickly linked her to the story.

    In the midst of the unexpected, the author explored the possibilities of freedom, hatred and love even in the throes of dark moments in people’s lives. “Here indeed,” in the words of Achebe, “is a new writer endowed with the gift of ancient storytelling.” She knows what is at stake and what to do about it. She is truly fearless and deep and efficacious and this is why the rest of the world has adopted her so. To the world, she is a fearless and towering literary figure.

    Having won the Commonwealth Literature prize with the Purple Hibiscus in 2003 and the orange prize with Half of a Yellow Sun in 2006, she has finally become a serious sensational writer in the world literary circle. The book went on to sell over 650,000 copies in England in the first few months of publication. Today it has been translated into 30 languages globally. Half of a Yellow Sun is a harrowing experience which transports readers into a war-ravaged Biafra, a war fought long before the author was born.

    Searing and profound, most critics of her works still try to see how Adichie was able to deftly handle events that predate her birth. It was that approach that finally signposted her into the inner-circle of serious and committed storytelling technique.

    Yet in The Thing Around Your Neck published in 2009, she turned her penetrating attention to the stories of her peers both at home and in the Diaspora. The 12 witty short stories were vividly told by a natural and gifted storyteller in a way to depict the mastery of her environment and her people. The New York Times described it “as a resounding confirmation of a prodigious literary powers of one of our most essential writers.”

    A native of Abba in Dunukofia Local government area of Anambra State, Adichie was born in 1977 and studied Communication and Political Science at the Eastern Connecticut State University in 2001. Later in 2003, she obtained an M. A. at John Hopkins University, Baltimore, USA. In 2008, she went to the Yale University where she studied for an M. A. in African Studies.

    She had an intriguing opinion on writing and politics.

    To her, “I don’t think all writers should have political roles. But I, as a person who writes realist fiction set in Africa, almost automatically have a political role to play.”

  • ‘Our first  encounter with Things Fall Apart’

    ‘Our first encounter with Things Fall Apart’

    Prominent writers and critics recount their first encounter with the late Prof. Chinua Achebe’s first novel, Things Fall Apart, to Evelyn Osagie

     

    It means different things to various people. To some, it is the ultimate African novel. To others, it is a pioneer novel that should be judged based on the time it was published.

    The late Prof. Chinua Achebe’s Things Fall Apart has proved to be a novel, which has surpassed the writer and the publisher’s dream for it.

    Writing it was an experiment; publishing it was also an experiment, but it is one experiment that the world will never forget.

    Prominent Nigerian authors and critics share their first encounter with the book that has been translated into over 50 languages, including Igbo and Yoruba (Igbesi Aye Okonkwo):

    Gabriel Okara, author

    I can’t remember exactly when I first read Things Fall Apart. I think it was in the 60s. And I’ll tell you this, I was really impressed because of how he brought out the frustration and problem that Africans were faced with at the time with the Europeans, particularly the missionaries. I found it interesting because here is a book written in a way I would have liked to write. I was happy that someone had done what I was trying to do in writing our African experience using the English man’s language to explain the African experience. And I appreciated the skills with which he did it.

    Prof. Niyi Osundare, poet

     1965 was when I first read Things Fall Apart. I was in secondary school then. Things Fall Apart came at the right time. It was at a time the WAEC syllabus was being Africanised. We were lucky our set had Things Fall Apart in our WAEC syllabus as the text for prose. We had had texts from African poets like Prof. Wole Soyinka, Gabriel Okara, J.P. Clark, Lenrie Peters (Gambia), Kofi Awoonor (Ghana) and so on. Before Things Fall Apart were terrible books, which were written by Europeans, who portrayed Africans as fools, buffoons, sorcerers, witches, violent and blood-thirsty people. And we as Africans were made to read these books as written by these racists. So Things Fall Apart came as a refreshing alternative. It was the first time we read a novel written by an African that portrays our lives.

    We all loved it. Soon after, we took nicknames from characters in the books. For instance, one of our class mates was called Okonkwo because he was the man of anger. Above all that, those of us from the west found that there were a lot of correspondences between Igbo culture and that of Yoruba, such as proverbs, the role of masquerades, etc. The novel was not just an Igbo novel but one that portrays the traditional African society, which every African can identify with.

    My favourite of his novels is Things Fall Apart. I have taught for over 35 years now. It represents Achebe’s literary essence because of its delicate simplicity.

    Hafsat Abdul, novelist

    I came across Things Fall Apart over 20 years ago. Since then I have read almost all of Achebe’s works. I admired him for writing about his culture and he was the first that wrote such a great book. It was well arranged and Achebe deserves the recognition.

     

    Elechi Amadi, author

    The first time I read Things Fall Apart was in 1958/59 after the excitement of Jagua Nana in 1954 by Cyprian Ekwensi and then the avalanche of the novel started.

    My impression of the book then was that I felt it was well-written. The language was “rock-solid’. He handled the English language competently. In my opinion, compared to his other novels, Things Fall Apart is his best. It was the first novel written by a Nigerian or an African to attain world recognition. And because of that, he became an inspiration to those who wrote after. He galvanised us into action to write books of quality as he had done. Achebe was an inspiration. Achebe was my prefect at Niger House at Government College, Umuahia. We knew each other personally. He was dutiful and dedicated. He always carried a novel at that time. He was always with Thomas Hardy’s novels while strolling around. I feel Achebe ought to have won a Nobel Prize.

    Ahmed Yerima, playwright

    The first time I read the novel was in 1973 when I was in Form Three. I found it captivating and descriptive and it made me feel I was in the village. One thing reading the novel did was to inspire me to desire to write. I marvelled at the lucid use of language. It made me see what I had never been before. At that time it was a boost that challenged contemporary writers. The book has put Nigeria in the literary limelight of the world. I have seen the book in many languages. I have seen Things Fall Apart in India. I remember I met a young man holding a translated copy in India. When I asked him if he had read it, he said the first time he read he borrowed the book from a friend of his and later proceeded to buy his own copy.

    Prof. Ernest Emenyonu,

    author and critic

    My first contact with Things Fall Apart was in the mid 60s. I was a student then. I read it in 1958 in Teacher Training school. My intellectual contact was in 1964/65. I had done a small book on Things Fall Apart meant for teachers and secondary school students who would teach and read it. And when I came to University of Nigeria, Nsukka, in 1965/66, I read it again.

    The first time I read the book, I read it because everybody was reading it. The second time was as a student. My first contact with the book was an exciting one; I enjoyed it. It reminded us of home. By the writing of the book, Achebe opened the door for contemporary African writers of the 21st century and, by his success, he had given them the boldness to write the story of their land, focusing on the traditional African culture, with the use of proverbs as part of its narrative texture. While exalting the strength of the African culture, he condemned the weakness inherent therein like the killing of twins.

    Prof. Akachi Ezeigbo, novelist

    Even though I had heard about it before the war, I read it as an undergraduate in the 70s. It was a big surprise because it was very different from anything I had read in my life. I attended a missionary school and they made us read books written by European authors, like Charles Dickens. I was amazed that literature could be written from the point of view of the African, telling our own story, bringing in proverbs and so on. Before then, all other African writers, like Peter Abrahams, wrote in English but none carried the kind of African colouring that Achebe’s book had, like proverbs, folklores and all. Chinua Achebe reflected the Africaness in his writings.

    Odia Ofeimum, poet

    I actually read No longer at Ease before reading Things Fall Apart.I read Things Fall Apart when I was 13 years old. One funny thing is that the part that stuck to my head in the whole of the book was the evil forest. This may be because there were folklores about it around me. The book wasn’t as effective then, as it is now. In my opinion, Things Fall Apart is not a model African novel but a pioneer novel that needed to be celebrated. It is not my favourite of Achebe’s books; my favourite is Arrow of God. Things Fall Apart made it seem as if fighting for the right things was wrong with the death of Okonkwo. I say it was a good fight. We needed the spirit of Okonkwo to confront evil.

    Dr. Ifeoma Nwoye, author

    I read Things Fall Apart when I was in secondary school in the 70s. At that time, because of the vivid nature with which the story was told I became a participant, especially when the story was from one village to the other. It was so close home and I understood the terrain. And any time one hears others talk about Things Fall Apart, one is moved and becomes a sort of participant.

    My impression of the book at that time because I was young, after reading the book I hated everybody involved in the killing of Ikemefuna: I didn’t like Okonkwo and the men who went with him; I hated the elders for killing Ikemefuna eventually. I didn’t like Chinua Achebe allowing Ikemefuna to be killed. I wondered: why did Ikemefuna have to die? But as I grew older, especially when I became a writer, and today, I look at him differently. As a writer, to make the story real, it must not end the way the readers want or expect. Apart from that, I was at home with the novel; it presented the traditional African society in a vivid manner that every African can identify with.

    •Parts of this report were first published in The Nation during the 50th anniversary of Things Fall Apart.