“A Parable from National Urban Reality” – An excerpt from Wole Soyinka’s new novel

Introduction

While the formal fact-finding panels pursue their assignment, and bewildered minds attempt to absorb the turn of events, reflect upon, and engage in informal caucuses on ‘what really happened’ during, and following the authentic #ENDSARS campaign, both in the Lekki arena and in horrifying dimensions across the nation, I believe that it will not be out of place to offer a parable extracted from a forthcoming work of fiction. A parable, yes, but an actuality that has become virtually institutionalized across the nation. It is offered as a public service before the events of the month of October 20/20 congeal in the minds of participants, onlookers and consumers of the Nigerian staple of the now mandatory UFN (Unidentified Flying Narratives).

The forthcoming novel from which it is extracted — CHRONICLES FROM THE LAND OF THE HAPPIEST PEOPLE IN THE WORLD (BookCraft) – will be published towards the end of the month of November, 2020. – Wọlé Ṣóyínká

Read on:

Excerpt from CHRONICLES

Adjusting to a new culture was his main concern, but not an insurmountable culture shock. Badagry, after all, albeit closely intertwined with Lagos, was still Badagry. Pitan-Payne was on hand, though keeping a frenetic pace to wind up his affairs and proceed to his UN assignment on schedule. The engineer seemed to thrive on interlocking calendars, and in any case, he now had Menka to pick up the loose ends for him in his absence….

  The timing could not have been more thoughtfully ordained. The unexpected and the planned seemed to dovetail neatly, like the finely adjusted sprockets or his mechanical prototypes. And while Lagos/Badagry lacked the excitement of receiving sudden cartloads of human debris from Boko Haram’s latest efforts to out-Allah Allah in their own image, one could count on gratuitous equivalents from multiple directions. Such as the near daily explosion of a petroleum tanker on the expressway or city centre. Or a roofless lorry bulging with cattle and humans tipping over on a bridge and dropping several feet onto an obliging rock outcrop in the midst of the river.  Sometimes, more parsimoniously, a victim of military amour propre – in uniform or mufti, it made no difference. That class seemed to believe in safety in numbers, and all it took was that even a low-ranking sergeant should take offence at another motorist, who perhaps refused to give way to his car, a mere ‘bloody civilian’, never mind that the latter had the right of way. An on-the-spot educational measure was mandated. Guns bristling, his accompanying detail, trained to obey even the command of a mere twitch of the lip, leapt out of their escort vehicle, dragged out the hapless driver, unbuckled their studded belts, whipped him senseless, threw him in the car boot or on the floor of the escort van and took him to their barracks for further instruction. However, the wretch sometimes created a problem by suffocating en route – which left society to develop structures for neutralizing such inconvenience.

The contradicting, ironic sequence occurred to Menka only for the first time – yes, come to think of it, the military hardly ever recorded a fatality – once or twice, maybe even three times in a month — yes, the accident of excess did happen, but mostly such terminal disposal was left to the police, whose favourite execution site was a road block, legal or moonlighting. Perhaps a recalcitrant commuter, or passenger bus driver had refused to collaborate in providing a bribe on demand, or insulted the rank of the demanding officer with a derisive sum.  And it did not have to be the original offender but some too-know grammar spouting public defender who had intervened on behalf of the potential source of extortion. The outcome was predictable – victim or good Samaritan advocate instantly joined the statistics of the fallen from ‘accidental discharge’. The expression was still current, but often it was anything but. Accidents had become infrequent and unfashionable. Oftener to be expected was that the frustrated, froth-lipped police pointed the gun, calmly, deliberately, at the head of the unbelieving statistic and,  pulled the trigger. Again, the inconvenience of body disposal.

But then, the community of victims themselves – what a specialized breed of the species! The roles, it constantly appeared, had become gleefully, compulsively interchangeable. Allowing him only a few days to ‘catch your breath and get your bearings’, Pitan-Payne lost no time in taking Menka to inspect the land designated for the Gumchi Rehabilitation Centre, for victims of Boko Haram, ISWAP and other redeemers – nothing like striking while the iron was hot! On their way, the familiar sight of crowd agitation – how would the day justify itself without some kind of street eruption somewhere, wherever! Trapped in the chug-stop-chug of traffic, the favourite commuter distraction was to attempt to guess what was the cause, and even place bets on propositions. That morning, Menka’s first in nearly a year down south did not disappoint. But for the milling blockage by intervening viewers, they could have claimed the privilege of ringside seats. Compensating for that obstructed viewing however was the sight of men and women trotting gaily, anticipation all over their faces, towards the surrounded spot of attraction. From  every direction they came, some vaulting over car bonnets, squishing their legs against the fenders, squeezing through earlier arrived  bodies or simply scrabbling for discovered vantage viewing points. They climbed on parked vehicles and the raised concrete median. Commuter buses slowed down and stopped, keke napep — the motor-cycle taxis — pulled aside, drivers and passengers alike rubber necking on both sides of, or in the direction of a wide gutter that sank into a culvert. The lights changed to green and Pitan-Payne drove on, their last shared image a pair of muscular arms raised above the bobbing heads, clutching an outsize stone, slamming that object downwards into the gutter. Very likely a snake, Pitan suggested. With the rainy season, quite a few sneaked through the marshes into culverts and slithered their way into parking lots and even offices. 

A police van came racing down the road, against the traffic, strobes flashing and sirens blaring, so Menka looked back, saw the crowd drawing back and drifting reluctantly away from the uniformed spoilsports. This opened an avenue just in time for Menka to obtain the briefest glimpse of an object slumped over the rim of the gutter, once human, but not any longer. Indeed the only human identity left him was his iodine-red tunic and black trousers, still recognizable as the uniform of a LASA officer, an unarmed unit whose function was simply to unplug traffic – stoppered as readily by truculent drivers as by the roadside markets, vendors of all the world commodities who had taken over the streets, haggled, negotiated, delivered change and goods at their own pace. If the activities delayed movement over half a dozen changes from red to green and back again, it did not concern them in the least. 

Later that evening, the television newscast narrated the full story. After futile spurts of preventive measures, Authority had commenced arrests of vendors and seizures of their wares. The LASA team, their van parked in a side street, had pursued several such malfeasants.  In a desperate attempt  to escape capture however,  one ran straight into the snout of a speeding vehicle, was tossed up, landed with an ominous thud on the sidewalk and remained there, unmoving. In a trice, a mob had gathered. They set the parked LASA vehicle on fire and worked up further appetite for vengeance. The unarmed officers had already fled. A hunt party pursued and eventually brought down a scapegoat, quite some distance from the actual scene of crime. They proceeded to the ritual battering of their catch. He broke free, ran into the gutter, tried crawling into the culvert for safety. They dragged him out by his feet, trunk and head smeared and reeking from the accumulated sludge of the blocked tunnel. Passers-by, totally ignorant of the beginning or mid-act of the mayhem, refused to be left out. They grabbed the nearest assault weapon to hand and joined in the gratification of the thrill for the day, a newbreed citizen phenomenon. The massive stone, raised above a throng of heads, quivered lightly against a Lagosian skyline of ultra-modern skyscrapers before its descent onto bone and brain. It took on an iconic dimension that stuck instantly to Menka’s surgical album of retentions, a rampant insignia of the transfiguration of a collective psyche. 

“I envy you” Menka remarked the following morning, as they confronted the print media coverage, their scalding coffee no match for the nausea aroused by the photograph sensationally smeared across the front page.  “You are going away for a while. You’ll be spared such sights.”

“I feel guilty”. confessed Duyole. “Guilty, but yes, that is one spectacle I shall not miss.”

“Careful!” Menka quickly cautioned. They have their equivalents over there. Ask the black population.”

“No. Not like this. Occasionally yes, there does erupt a Rodney King scenario. Or a fascistic spree of ‘I can’t breathe’. America is a product of slave culture, prosperity as the reward of racist cruelty. This is different. This – let me confess – reaches into – a word I would rather avoid but can’t – soul. It challenges the collective notion of soul. Something is broken. Beyond race. Outside colour or history. Something has cracked. Can’t be put back together.”  And then Pitan-Payne gasped, paused, folded over the pages and passed the newspaper to Menka. “Take a look at this. Not that it changes anything but – here, read it yourself.” 

There was a chastening coda. It altered nothing. The fleeing vendor, whom no one had even thought to help, was very much alive. He had picked himself up, salvaged most of his scattered goods, and found his way home despite a sprained ankle and some bruises. Most of the earlier spectators had retreated to a safe distance. They continued what they had been doing earlier – filming the action with their phone cameras. The police did however capture the Goliath with the terminating stone who had administered the coup de grace. He remained on the spot, to all appearance, admiring the evidence of his work. 

He vehemently protested the injustice of his arrest: “I thought he was an armed robber.” 

The END.

“Identity Thieves on the Rampage” – a Statement by Wole Soyinka

Undoubtedly in order to promote the video clip of an ethnic revanchist calling on Igbo to leave Yorùbá land, this same lunatic fringe has exhumed, and embarked on circulating an ancient fabrication – several years mouldering in the grave – once attributed to me and vigorously denounced. 

That statement impudently expounds, as my utterance, what the Hausa want, what the Yorùbá want, and what the Igbo want.  Such an attribution – let me once again reiterate – is the work of sick, cowardly minds that are ashamed, or lack the courage, as the saying goes, “to answer their fathers’ names.”  At least the current ethnic rabble-rouser has the courage of his convictions, not so the sick brigade of identity thieves. 

Normally, one should totally ignore the social dregs. However, in the present atmosphere where FAKE NEWS is so easily swallowed and acted upon without reflection, I feel once again obliged to denounce this recurrent obscenity. As for our brother and sister Igbo, I hope they have learnt to ignore the toxic bilge under which some Nigerian imbeciles seek to drown the nation.

It is time also, I believe, to also enter the following admonition: one cannot continue to monitor and respond to the concoctions of these addicts of falsehood, and their assiduous promoters who have yet to learn to wipe the filth off their tablets. The patrons of social platforms should develop the art of discrimination.  Some attributions are simply so gross that, to grant them even a moment’s latitude of probability diminishes the civic intelligence of the recipient

Wọlé ṢÓYÍNKÁ

October 24,  2020

Bloomsday in Lagos

For the first time, Bloomsday is happening in Lagos.

This is the celebration of James Joyce’s work, which happens annually around the world on June 16, the day that his seminal novel Ulysses takes place in 1904.

This year’s event is hosted by the Irish Embassy in Lagos. It will be online.

The event will feature a conversation between Dr. Adrian Paterson and Kọ́lá Túbọ̀sún, and moderated by Àdùkẹ́ Gomez, focusing on the theme of isolation and the links between the work of Joyce and that of Nigerian Nobel Laureate Wọlé Ṣóyínká.

Source: Irish Embassy Twitter.

The Ṣóyínká Museum in Ifẹ̀

The new Ṣóyínká Museum in Ifẹ̀ wasn’t that hard to find, it turned out. Knowing that it is located across from the Vice Chancellor’s Lodge was a helpful tip that got us there. A straight road from the university gate, after just one turning, led us right through an open road guided by trees, grass, and lamp posts, and there we were.

Located near the base of an impressive hill covered in thick foliage, the house, built in the simple but elegant style of other nearby structures created for the use of university staff, stuck out in white, decorated by murals portraying the Nobel Laureate in many different states. At the entrance, on top of a constructed covering, supported by metal poles, is a larger-than-life concrete bust of Ṣóyínká himself starting towards the Vice-Chancellors lodge.

The house used to be yellow (see old pictures here), like other buildings in these staff quarters. The new white painting and decorations are a distinctive feature to mark it apart as not just any other residential property in the area. The house has now been adopted by the Ògùn State Government as a museum and artistic/exhibition space about the life of Africa’s first Nobel Laureate in Literature and famous indigene of the state and former member of staff at the university. In itself, this is an impressive and long overdue endeavour. In other parts of the world, important buildings of this nature are regularly turned into historical sites, creating great cultural value, and bringing tourists from across the world, which in turn generates funds to keep the structures perpetually maintained, to serve as valuable institutions to the preservation of memory and values of the celebrated heroes.

[Read about my visit to the Mark Twain Boyhood Home in Hannibal, Missouri here here, and here]

 

This location, I thought, was actually quite interesting. The rumours I grew up around had it that at some point in his career as a Professor of Theatre, WS was in the running to become Vice-Chancellor of the university himself. He has strongly refuted this in an email to me, writing “I have NEVER contested or even desired any administrative position in my entire career at Ifẹ̀ or any other institution in the entire world.” This makes sense, or it would have made for some awkward interaction with whomever had won the tussle living right across from him on campus.

According to the pamphlet handed out to us as we walked through, Professor Ṣóyínká left the University of Ifẹ̀ in 1986 after having “spent about 24 years” on the staff roll. That means he joined in 1962. I’ve found this record a little conflicting with the reality that the dramatist-professor was also the head of the Department of Drama at the University of Ìbàdàn from 1967, shortly before he was arrested for visiting the breakaway Biafra, to 1970, a few months after he was released from jail. So, either he first went to Ifẹ̀ (then located in makeshift buildings in Sango and Sámọńdà areas of Ìbadàn before this permanent site in Ilé-Ifẹ̀ was opened), then returned to Ìbàdàn and then went back to Ifẹ̀ after he left jail, or we have got the records wrong. It will be nice to have this all straightened out.

Speaking of records, the ostensible purpose of the Museum is to create ‘an academic and tourism destination’ around the writer’s life, work, and passions (including hunting), yet the only thing here, at the moment at least, are a collection of carvings and other artworks belonging to, collected by, or created around Wọlé Ṣóyínká. Nowhere in the building are directions to what each room used to be: this is WS’s former study. This is where he wrote The Road. This was his work typewriter for many years. This is the room where his children so-and-so used to live. And here is an old manuscript of Lion and the Jewel, with handwritten notations in-between the lines. etc. Maybe being in the presence of his artistic aura around the building and his art collections was supposed to be enough for the visitor. It wasn’t. There was a prevailing sense that a lot more context will need to be added to make it a true museum of the writer’s illustriious career.

At the moment, it is simply an exhibition space, filled with an impressive collection of art from the many corners of Nigeria, collected and preserved over many years. Won’t it be nice to have the structure turned into a real-life manifestation of the creative imagination of the writer’s theatrical and poetic ouvre? At Hannibal, one could pretend to whitewash a picket fence just like Tom Sawyer did in the writer’s famous novel. One could walk around the museum, and around downtown Hannibal like a character in Mark Twain’s early works. One could also visit a gift shop and buy books and other collectables related to the author. The ‘Boy’s Quarters’ of this Ṣóyínká Museum would be a good place to turn into a gift shop if the desire so manifests. Or, perhaps, this will be the case only when Ṣóyínká’s childhood home in Abẹ́òkuta is finally acquired for a more permanent artistic purpose.

The grounds on which this museum building in Ifẹ̀ now stands will make a good venue for festivals, open literary fairs, and other artistic events. The view of the hills, glorious in the setting sun, is a delightful sight from the balcony, even when blocked by a lone palm tree that one can assume has had an illustrious life as a sater of creative thirst through the production of palm wine. One can easily imagine its former residents walking around it on cool evenings, setting traps for wild animals, or venturing into the adjourning thicket, up the hill, for a hunting expedition. Easily imagined as a venue for future writer residencies as well, there is a lot of understated potential for the project. One is glad, at least, that it has begun.

Two Plays in Ibadan

Ibadan PlayhouseI was at the University of Ibadan’s Arts Theatre last weekend to see the staging of two children-oriented plays by two of Nigeria’s best playwrights Wole Soyinka and Femi Osofisan. The plays were Soyinka’s Childe Internationale and Osofisan’s Making Children is Fun. The selection was in honour of the International Children’s Day, and was performed by the Ibadan Playhouse, a theatre company based in Ibadan, and directed by Yinka Smart and Soji Cole.

Both plays are unique in that they show their writers in their most accessible (and playful) format. This applies more to Soyinka than to Osofisan, but the duration of each play (less than forty minutes each) marked both works as more of skits/sketches and short interventions than heavy and serious work. But that notwithstanding, the works addressed serious social, political, and cultural issues of today and of the time when they were written.

IMG_5393 IMG_5398 IMG_5403 IMG_5405IMG_5395 IMG_5396Speaking in-between the plays, as well as when the show was over, the director of the company, Mr. Ropo Ewenla, expressed appreciation for the presence of the audience, while speaking about the mission of the theatre company. Not only was it created to recreate a culture of theatre-going in Ibadan and around the country, the company is also on a mission to bring plays of significance to the audience at affordable gate fees. But more than that, he spoke about a mission to use the vehicle of drama to reach the less advantaged in the society.

Children from orphanages around Ibadan are invited regularly to attend command performances and martinées for free. Secondary school children are also invited to watch performances at reduced rates, and the theatre company hopes in the future to go out regularly to perform in Nigerian prisons as a way to humanise the inmates and workers. Definitely something to laud and to support.

My experience at the University Arts Theatre both as a student and as a regular visitor to the university has always been a fun and stimulating experience, and this was no different. I strongly commend what the Ibadan Playhouse is doing. They can do with even more (corporate, moral, financial) support.