This sunked-eyed moment wobbling
down the rocky steepness on broken
bones slowly fearfully to hideous
concourse of gathering sorrows in the valley
will yet become in another year a lost
Christmas irretrievable in the heights
its exploding inferno transmuted
by cosmic distances to the peacefulness
of a cool twinkling star…. To dead-cells
of that moment came farway sounds of other
men’s carols floating on crackling waves
mocking us. With regret? Hope? Longing? None of
these, strangely, not even despair rather
distilling pure transcendental hate….
Beyond the hospital gate
the good nuns had set up a manger
of palms to house a fine plastercast
scene at Bethlehem. The Holy
Family was central, serene, the Child
Jesus plump wise-looking and rose-cheeked: one
of the magi in keeping with legend
a black Othello in sumptuous robes. Other
figures of men and angels stood
at well-appointed distances from
the heart of the divine miracle
and the usual cattle gazed on
in holy wonder….
Poorer than the poor worshipers
before her who had paid their homage
with pitiful offering of new aluminum
coins that few traders would take and
a frayed five-shilling note she only
crossed herself and prayed open-eyed. Her
infant son flat like a dead lizard
on her shoulder his arms and legs
cauterised by famine was a miracle
of its kind. Large sunken eyes
stricken past boredom to a flat
unrecognising glueyness moped faraway
motionless across her shoulder….
Now her adoration over
she turned him around and pointed
at those pretty figures of God
and angels and men and beasts-
a spectacle to stir the heart
of a child. But all he vouchsafed
was one slow deadpan look of total
unrecognition and he began again
to swivel his enormous head away
to mope as before at his empty distance….
She shrugged her shoulders, crossed
herself again, and took him away.
Chinua Achebe (1930 – 2013) was a Nigerian novelist, poet, professor, and critic. He was best known for his first novel and magnum opus, Things Fall Apart (1958), which is the most widely read book in modern African literature. Raised in Nigeria, Achebe excelled at school and won a scholarship for undergraduate studies. He became fascinated with world religions and traditional African cultures, and began writing stories as a university student. His later novels include No Longer at Ease (1960), Arrow of God(1964), A Man of the People (1966), and Anthills of the Savannah(1987). When the region of Biafra broke away from Nigeria in 1967, Achebe became a supporter of Biafran independence and acted as ambassador for the people. After the Nigerian government retook the region in 1970, he involved himself in political parties but soon resigned. From 2009 until his death, he served as a professor at Brown University.
Okey Ndibe’s timbre is a delightful mix of soft-spoken insight and passionate ideals. A conversation becomes an art form as Ndibe incorporates stories, anecdotes (and advice) to exemplify a point. My interview with Ndibe about his new book, Foreign Gods, Inc., seemed like an evening spent eavesdropping on the rich art of conversation between Nigerians from a different age whose words carry history, passion and an uncanny understanding of the possibilities of the future. – Etinosa.
ABR: Where did the idea for Foreign Gods, Inc., originate?
NDIBE: Many years ago a cousin of mine told me that the statue of a deity from my town had gone missing and just reappeared after a week or two. And I was intrigued. I wondered who could have taken it…when I don’t understand something, I think of it in terms of a story as a way of making sense of it. As I thought about the missing deity I said, ‘wow it would be good to do a story about this.’ The story I originally wanted to write was that perhaps members of an evangelical Christian group had been urged by their pastor to steal and destroy the deity…but living in America and seeing wealthy Americans buy things that are African which they consider primitive and exotic and desirable in that sense (because people like to harvest their fascination with what they think is out there), I thought about adding a gallery in a place like New York City, that buys and sells statues of gods from around the world. And that’s how the idea grew.
ABR: There is a deeply rooted religious tension between the Christian fundamentalists and traditional worshipers in the story. Is this reflective of modern Nigeria?
NDIBE: Oh yes. The tension is a long one and is still very much there. There was a military governor who was a Christian and set about burning shrines of deities. He said they were demonic centers and there was no place for them under the state he governed. More recently, there is a phenomenon amongst our people who, because they’ve become Christian, change names that their families have borne, especially last names. So you find someone with ‘Ogun’ [a traditional Yoruba God] in his name changing it to ‘Oluwa’ [the Yoruba name for the Christian God]…he doesn’t want to be beholden to Ogun…. So there is that pervasive superstitious regime that is taking a hold in Nigeria and I think a lot of Pastors exploit that kind of superstition in a country where things are already extremely difficult.
ABR: It’s also interesting how much history is being wiped away and rejected when a person with the last name ‘Ogun’ changes it to ‘Oluwa.’
NDIBE: Yes. The people of Ike’s town have a rich and enduring memory of their deity. They know its origins. They know that it was born to strengthen their war prowess and ability to defend themselves. So that memory is there. And it’s very strong. And even though we don’t have written records, the memory of past lineages is always there…There are always people within a village who can tell you the story of the village, the background to its spiritual customs and the justification for certain practices. That memory is always fascinatingly present when I return to my home town.
I used to sneak into the shrine of a deity in my town to listen to the chief priest perform invocations especially when people came to seek favors from the deity or thank him for the things (real or perceived) that he had done. And the priest used to say to the deity in eloquent Igbo, “You said that your followers should not share. That they should scramble…fight for things, we are in that fight.” I thought that the deity stipulated this fight because there was enough for everybody, but when I asked a devotee what the phrase meant, he told me that in the days of yore from time to time the deities would have a feast. And when they got to the feast, sacrifices would be made because deities eat just as humans eat. The deity from my town was so convinced of his own power that he suggested the gathered deities fight for the food instead of sharing it, because he was confident he would get the most food. So what I thought was a theological issue for his followers actually had a sort of ethical, historical background.
ABR: And it reflects on his followers that this is the god they have chosen to serve.
NDIBE: Right. And Ike falls into that rough theology because though he could make a living from driving cabs, he wants something more. So in the end he goes from gambling to the ultimate gamble …stealing a god.
ABR: Ike’s personality seems to change between Nigeria and America. In America he feels alienated because he apparently doesn’t have the right accent but as soon as he gets to Nigeria he is more confident, correcting others’ grammar. Is that change reflective of the African immigrant’s experience in America?
NDIBE: Ike has been changed profoundly by America but hasn’t yet come to terms with the meaning of the changes that he has undergone, so he is acting in ways that are deeply ironic. On some level he thinks ‘I have done what America expects of me. I have an excellent degree; I have gone to a great school, so America has to deliver on its own promise.’ Then America introduces this new ingredient, ‘When you speak, you reveal yourself to be foreign…and even if you are foreign we don’t want you to be this foreign.’ So he’s upset that America is selling things [the American dream] to people, but suddenly remembers that he has an accent when it comes to offering him a job…but consistent with that complexity in his character, he is extremely close to his uncle yet is willing to steal the man’s deity.
ABR: The women of the novel seem to have a joint mania whether it’s religious like Ike’s mother or sexual like his girlfriend in New York. There’s also a joint passivity that women like Regina possess and I wondered about that.
NDIBE: In Regina’s case, I particularly wanted to tell that story… I am aware of a particular trend were if a woman loses her husband, especially if he has money, the man’s family will accuse her of being responsible for her husband’s death and chase her off her bequest. So I wanted to bring out that issue out.
ABR: To what extents are stories like Regina’s still present and relevant?
NDIBE: I would say to a large extent…men still have this idea of ‘the privilege of being a man.’ And when the woman says “Look you’ve got to help to clean the house, you’ve got to help change diapers,” some men who have this sense that they’ve married a wife to serve them, think ‘wow I can’t marry you and come and be your wife.’ But Regina was compelled to marry her husband on account of his wealth. And that’s the bargain she’s invested in…[a] relationship defined by that wealth… So I was cautious when writing that, I wanted to give her some power because that’s the kind of woman I’d like to see, but I also know of too many women who simply don’t have the resources within traditional society to sustain them in that kind of situation. But clearly, it’s also a way of pointing out a situation that needs to be addressed, that we need to take into account the full humanity of our women.
ON BIAFRA & NIGERIA
ABR: When you were young you experienced the war on the side of Biafra. What was that was like from a child’s perspective?
NDIBE: I’ve written a few essays on the war. I was born in Yola, the current capital of Adamawa state. I spoke better Hausa than I did Igbo at the time the war started when my father sent us to our hometown with my mother. And in the 30 months of the war with the bombardment of the sentiment that the Northerners who were killing us were evil and with the inability to speak Hausa to anybody, I lost Hausa completely. So that becomes a sort of price that one has paid.
But you can also imagine as a child the incessant rumble of fighter jets that really shook the ground in their speed, sometimes they seemed to come so close to the ground and you saw the bombs coming out of them and then you heard the incredible explosions. The bunkers in which we were sometimes thrown or the banana trees under which we sometimes had to duck… It does things… people have said to me that they are surprised I have a sense of humor and that I am emotionally stable and so on. And a lot of my friends who went through the war adjusted. I don’t know how we did that. I imagine that there were kids who paid the great price, but somehow we were able to come out of it and adjust.
On one occasion I was fetching firewood with my siblings and other friends when an enemy jet flew very close and as we all fell to the ground, looking up ahead, it seemed to be hovering over the place where we lived. We saw the bombs coming out, heard deafening detonations and we were so scared because we thought it had landed in our house, we thought our parents would be dead. When we came out, our parents were still alive and worried for us because they thought we had perished. It turned out the bombs had fallen near the place where we went to school.
I’ve also recounted the story of standing in line with my parents to get food and a man standing a few paces in front of us just collapsed, wobbled to the ground. People surrounded him and took him out, and I sort of remember my parents blocking me with their bodies to prevent me from looking. Also the images of children with bloated heads and tiny stomachs…the effect on a child of not having enough food to eat and being afraid to ask, and of hunting lizards which we roasted and ate and so on…even then we didn’t have enough of the flesh of the lizard to eat. It’s….it…was scary.… It was as if the world could come to an end at any moment and you had no control over when it would happen.
ABR: What and how was the process of integrating into ‘Nigerian’ society after the war.
NDIBE: It was a messy and complicated process. First, I think there was fundamentally an injustice in a people saying ‘Nigeria is an unjust space and we don’t want to belong to it’ and the rest of Nigeria saying ‘no you can’t leave.’ And then when they returned, the government says to them ‘The assets that you left in Nigerian banks when you ran, whatever it was, you’re going to get only £20′ and told people in many parts of the country that the properties they owned were considered abandoned and in some cases people were compensated but in a lot of cases, highly connected and powerful people just took over those houses.
But there were always people who acted heroically. With moral decency. I’ve told the story of the Lamido of Admawa who saved my father. He happened to be passing in his convoy by the post office where my father worked and saw a mob gathered breaking down the door because my father and the other staff had barricaded it and were hiding in the post office from the mob. And the Lamido asked the mob outside what was going on and they said ‘there are some heathens that we want to collect and kill.’ The Lamido rebuked them and sent them away, he collected my father and the other workers and kept them in his home for about three weeks until things calmed down, after which he took them to the river Benue and put them on a boat to the South-East. And when I went to talk to him in 2008, I asked him why he did that and he said
“I did it because I am a true Muslim. And as a true Muslim it was my duty to ensure that innocent blood was not spilled under my watch.”
And there were lots of people, Yoruba and Hausa and from other ethnicities who preserved the homes abandoned by Igbo landlords, who even collected rent on their behalf and kept those rents in trust and turned the money over to the Igbo owners at the end of the war. But the Nigerian government’s official policy was that those properties were abandoned.
ABR: The Biafran war was highly covered by foreign media, but not many post-war narratives have emerged about it. Gen. Odumegwu Ojukwu especially, died without producing anofficial account of the war from his perspective. Why is there a reluctance to talk about it?
NDIBE: I think there is a certain reticence that comes from being a ‘defeated people.’ The narrative of defeat, however just your idea of the war is, remains a difficult narrative to put together. I think that’s one thing. I also think that quite simply, the continuing injustices in Nigeria account for part of the paucity of narratives about the war. You get the sense that the country that compelled Biafra to remain part of Nigeria is absolutely reluctant to address the injustices that triggered the war to start with, and people don’t know where they stand… the war is still an emotional thing.
Having said that I think there are also quite a few books that have been written and more will be written but because of the nature of the publishing industry in Nigeria, those books are not easily accessible…that ought to change. We should have indigenous local publishers producing books about the Biafran war and then the extraordinary product of this endeavor would inevitably make it to the international market.
ABR: What do you want readers to take away from Foreign Gods, Inc.?
NDIBE: I don’t like to be prescriptive but I hope that any reader whether Nigerian, African, American or European will turn the last page of the book and say “this is a good story.” I think the art of storytelling is under siege. In contemporary fiction there is a certain fixation with linguistic dance and performance that is not wedded to a story. So I’d like my readers to say “Even if I would have wanted a different kind of outcome, I was engaged by the story.”
Okey Ndibe is the author of Foreign Gods, Inc. Born in Yola, Nigeria, he earned an MFA in fiction and a PhD from the University of Massachusetts. His first novel, Arrows of Rain, was published under the esteemed African Writers Series. He is a visiting professor of African and African Diaspora literatures at Brown University.
If you haven’t heard of Okada Books yet, you’re missing out on a wealth of stories written by young Nigerian authors and hosted on the Okada Books app. A platform that allows writers to self-publish their works and directly engage with readers. Despite such an open market approach (reminiscent of Figment and Amazon’s self publishing arm), some authors stand out from the crowd and Tunde Leye is one of them. Deemed one of the more popular Okada Books authors, he shared some of his insights about his writing process and his short story, The Burden of Proof with The African Book Review.
ABR: In your bio you suggest that stories form the basis of society and the arts. Can you expand on that notion and discuss how that inspires your writing?
LEYE: Writing records our thoughts and transmits them with precision we could never manage by any other means. Singers, artists, politicians, explorers and all sorts of people have been inspired by the things they read. Almost everyone can point to that book they read that was the fulcrum around which their lives turned. That is why when dictators and tyrants take over rulership…they go after writers and their books. They know how important these are. It is what has inspired writers to put their words down in spite of danger and the amount of work they have to do to complete the works.
ABR: The Burden of Proof incorporates some aspects of the Nigerian-Biafran war. What fueled your interest in this period of Nigerian history and did you have to conduct any research to incorporate those aspects of the war into your story?
LEYE: As with any writing, research is one of the most important parts. Thankfully the internet has made researching easier. Of course it helped to talk to people who actually lived and fought on both sides [of the war] to get a grasp of how it affected people beneath the normalcy that their lives now have. Nigerian history in general interests me and a lot of my writing takes different aspects of the history as elements that influence the plots and characters.
ABR: An intriguing part of the tale is how efficient the police force is. Is this representative of modern Nigerian society or a reflection of how you’d like the police force to operate?
LEYE: [The story] was actually close to reality…after speaking with and observing our police. Those pieces are there, it merely takes driving and coordinating them better together. However, I do take some artistic liberty as most fiction does when referring to law enforcement. I mean, we watch police investigation stories from Hollywood where they get DNA results in hours whereas it takes much longer and requires the DNA samples to be of a certain quality in reality.
ABR: What inspires your writing? And are there any habits that help you keep writing/ maintain a certain standard of storytelling?
LEYE: My writing flows out of two things – I read a lot, I listen and observe things and events very keenly and ponder them. I tend to pace myself when I write and I firmly believe the maxim “the only way to improve on writing is to write” so I write a lot. I write three blog posts weekly, two of them fiction and an opinion piece for a newspaper, as well as working on a novel alongside. It helps to have a sort of schedule I write on and keep to it. I also write in iterations. First, I put down a skeleton of the piece and then I flesh it out in several iterations, adding the details and giving the characters life as I go. I also try to make sure my characters are real people in their reactions and actions. This doesn’t downplay the fact that writing is difficult, but it is a skill and needs to be/practiced regularly to sharpen.
ABR: Can you tell us a bit more about your upcoming projects?
LEYE: I started Write Right this year, a writing prize to discover new writers, reward them and support them to write books and start blogs beyond the prize. I am also working on my third book, an epic fantasy novel called Guardians of the Seals which is due out next year. Of course, I’ll keep writing fiction on my blog TLSPLACE for some time to come.
Tunde Leye was born in Lagos, Nigeria. The author of multiple online series as well as an illustrated children’s book, he runs one of the most well-read fiction blogs in Nigeria, www.tlsplace.wordpress.com.
The Burden of Proof is a well written short story that blends elements of the Biafran war, the Nigerian police force and her legal system to form a dark mystery, after a Biafran war veteran is murdered. Set in what might pass for a Nigerian-utopia bridling with efficiency and layman justice, the story is optimistic with an incisive focus that doesn’t waver and leaves the reader expecting more at the end. Read here.