Black Orpheus Unveiled: A note on African Writing in English

BLACK ORPHEUS UNVEILED:

A NOTE ON AFRICAN WRITING IN ENGLISH

In the history of literature no century has witnessed such an extraordinarily rich and various blossoming of the creative genius in the English-speaking countries of the world as the twentieth. In England the number of publications–collections of poems, plays and novels –is an index of this unique phenomenon of the outburst of creativity.

What is sometimes forgotten is that this upsurge of the human spirit unfolded itself in the English-speaking nations of Asia and Africa. Considerable body of creative writing was produced in Ghana, South Africa and Nigeria. In South Africa, Nadine Gordimer (b. 1923) has distinguished herself for her novels and short stories. After settling down in London, Dennis Brutus (b. 1924) has published many collections of poems. From Ghana we frequently hear the names of Ayi Kwei Armah, E. E. Obeng, George Williams Awoonor (b. 1935) and Christopher Ogkigbo (b. 1932). Above all the English-speaking countries of the so-called “dark” continent, Nigeria, seems to have made rapid strides not only in the quantity of literature produced but in quality also. Some of the more familiar names suggest themselves: Amos Tutuola (b. 1920), Cyprian Ekwensi (b. 1921 ), T. M. Aluko (b. 1920), Chinua Achebe (b. 1930), Wole Soyinka (b. 1934), Joseph Pepper Clarke (b. 1930) and a few others. In the course of this paper I propose to concentrate on three distinguished Nigerian writers: Tutuola, Achebe and Soyinka.

Amos Tutuola, one of the major African writers in English was born to poor Christian parents in the Nigerian town of Abeokuta. Not knowing what education was like in a high school–for he had to make his way up the ladder of life–Tutuola tried his hand in various occupations. Disappointed with the work of a coppersmith, he looked up for an employment as an attendant in the Nigerian administrative service. Being none too happy there, he ultimately joined Radio Nigeria as a store-keeper in the University town of Ibadan.

Although not educated in the accepted sense of the word, this towering figure in African literature couldn't contain his urge for creativity in a foreign language. Lack of education in the conventional sense and insufficient command over the English language were no insurmountable barriers to him. He listened to his inner voice which commanded that he should compose his ideas in the English language.

The result of this obedience to the inner call was the publication of his first significant novel entitled The Palm-Wine Drinkard and His Dead Palm-Wine Tapster in the Dead’s Town (1952). Interestingly, the major character of this fiction is an insatiate Drinkard who finds himself in grave trouble when he finds that his Tapster is dead. As superstition would perhaps have it, the death of the Tapster is followed by a very severe drought. Naturally the Drinkard makes up his mind to follow the dead Tapster to the land of the dead. For this purpose, he sets out into the forest. It is an adventure–a long, entertaining and delightful journey–into the land of the gods, goddesses and various other spirits. The Drinkard ultimately encounters the dead Tapster when he pleads for his quick return. Unfortunately, the Tapster isn’t allowed to come . Instead, the Tapster presents an egg to his friend. The egg is a talisman that supplies enormous quantities of food. As ill-luck would have it, this charm is broken after a few days of its use in the town.

The home-coming is remarkable. For, it enables the Drinkard to preach to his people the nature and character of a sacrifice. The sacrifice brings an end to all famine and starvation in the country.

In all Tutuola wrote six novels. The Palm-Drinkard (1952) was followed by My Life in the Bushes (1954). The publication of the well-received Sambi and the Satyr of the Dark Jungle (1955) was succeeded by The Brave African Huntress (1958). The Feather Woman of the Jungle (1962) and Ajayi and his Inherited Poverty (1967) followed later.

In weaving his stories, Tutuola is never tired of using myth, fairy tale and the tall story elements profusely. The traditional Yoruba folk-tales seem to have supplied the raw material for many of his novels. It is perhaps for this reason that each one of his works is of anthropological significance.

Born as the son of a missionary teacher of humble origins in the Nigerian town of Ogidi, Chinua Achebe (b. 1930 ), a giant in the pantheon of African writing in English, followed a full-time course for a degree in the highly reputed and widely known University of Ibadan. After touring the continents of Africa and America, Achebe settled down for composing novels as the Director of the Nigerian Broadcasting Corporation at Lagos.

Things Fall Apart (1958), the title of which is derived from one of the poems of W. B. Yeats, was followed by No Longer at Ease (1960). The Arrow of God (1962) had a tremendous success compared with A Man of the People (1966).

As the title itself suggests, Things Fall Apart is a novel that deals with the encounter of the traditional, native Ibo culture with that of Western culture. The arrival of the whiteman and his impact on the well-settled life of the natives of the African state supplies a very fruitful theme for a clear stock-taking of the situation. Achebe tries to be objective in his narration of the incidents and even in his comments. Very suggestively, Chinua Achebe states that African culture too has its own uniqueness and individuality which is frequently misunderstood by European visitors as a fossilized savage culture. Without defying his native land and its people, he is able to make it known that even a dark nation has its glories. It is here that the weapon of satire is used. At the same time Achebe teaches a few lessons for the more dogmatic tribe of his countrymen by telling them that the “White” culture too has its redeeming features. He thus seems to present a balanced view of the great historic encounter of the two unlike African and Western cultures.

Although all his novels do not have a continuity of theme–except perhaps the first three–they do appear to have a common sense of commitment. The second novel No Longer at Ease carries forward the theme of disharmony of the two cultures introduced by its predecessor Things Fall Apart. The major character of The Arrow of God is a priest by name Ulu, who is entirely dependent upon the ignorance of his people. Their belief in his gods and goddesses is the means of his livelihood. Any tilt in the balance would cause irreparable damage to him.

A Man of the People is a brilliant work, where the corrupt administrator is subjected to microscopic examination. The administrator is the so-called man of the people, because he does nothing to the people, unless it is helpful to him. Corruption inpublic offices doesn’t seem to be the monopoly of any one single nation. It is there from the North to the South pole and all along the equator.

Of all the distinguished modern African writers in English, Wole Soyinka is the most versatile. Gifted with an enviable poetic talent, not only he has composed many theatrical plays–plays that have proved enormous successes–but with an unfailing touch he has written novels too. With the publication of his novel The Interpreters (1965), Soyinka, the youngest and the most promising of all the second generation of creative writers, has already established himself.

Born in Abeokutu as the Son of a supervisor of schools, Soyinka was educated at the University of Leeds after he took a first degree at Ibadan. Being highly ambitious of developing a native dramatic genre in Nigeria, he spent a considerable spell of his very active life at the Royal Court Theatre at London. One of his early theatrical productions–The Invention–was performed experimentally at the R. C. T. During the outbreak of the Nigerian Civil War, Wole was arrested and imprisoned at Ife, where he was a lecturer in English.

Besides The Invention (1960) Soyinka’s works include Three Plays (1963), A Dance of the Forests (1963) and The Lion and the Jewel (1963), and a book of poems entitled Idakre(1967). The Road (1965) and The King’s Harvest (1967) were much admired soon after publication.

Being in the tradition of Achebe–certainly he owes a considerable literary debt to him –Soyinka is a prolific writer who has all along been making quick progress. His admirers–who include many Englishmen and Indians–expect him to carry on the torch of the Nigerian Theatre beyond the hitherto known frontiers.