Life Must Go On

After the civil war, Imperi, a small Sierra Leonean town, tries to rebuild the life it used to have. Three characters, Kadie, Moiwa and Kainesi, come to their native town waiting for the return of the younger generation. Everybody is willing to start anew.

However, after a while, their goodwill and energy cannot resist material precariousness: the town lacks food and clean water, the teachers don’t get paid on time; the corruption of local administration officers ravages, rapes and accidents destroy the fragile peace and hope of the townspeople.

After the resounding success of A Long Way Gone, Ishmael Beah’s second novel is a story of hope and deep humanity. Beah imposes a powerful, lyrical tone in which suffering and sorrow are always transformed into hope and compassion; his characters are all the more powerful because they struggle not only to survive, but to keep their dignity and the cohesion of their community. It is a story of people doing their best to pass on their values, a story told both with gripping lucidity and poetry.

The oral tradition of Mendé language and culture permeates the novel and gives it a particular music and rhythm, and the very plot seems to follow the pattern of an oral story, with a circular structure framed by stanzas that remind the reader of the endless renewal of human hope despite the dramatic turns of fate. Life must go on, and people must live to tell its tale. As the Mendé say,

“It is the end, or maybe the beginning of another story. Each story begins and ends with a woman, a mother, a grandmother, a daughter, a child. Each story is a birth…”

Radiance of Tomorrow by Ishmael Beah

Sarah Crichton Books | 2015 | ISBN: 978-0374535032

Read our interview with Ishmael Beah here. 

Review by Ioana Danaila

IMG_0478-2Ioana Danaila was born in Romania. She graduated from University Lyon 2 Lumière with a Masters in Postcolonial Literature and a First degree in French for Non-Francophone people. She has published short stories and translated books from French to Romanian. She speaks Romanian, French, English, and Spanish and teaches English to high school students in France.

Laughing Drums |David Amadu

History’s white hand wrote my country’s course
In a language that will come back and hunt her
In the twenty first century ;
The man at the round-about calls it exploitation
Beyond redemption.
But I say it is far beyond our imagination.
Who would have ever thought
Shedding blood for diamonds will be our lot?
Not even the ruthless bullies
Who scrambled for our land to please their hungry bellies;
Nor did big city dwellers in their luxury
Have the faintest idea of our misery.
The man at the round-about says
We are in a conundrum
But I say let’s play our joyful laughing drums
Play our laughing drums
To the sound of hungry children chewing crumbs.

History’s white hand wrote
Signatories and pernicious agreements both
As IMF loans and World Bank Killer packages
Inflicting unparallel wounds and damages;
The man at the round-about calls it Neocolonialism
Without Comparison
But I say it’s beyond human realism
So let’s play our joyful laughing drums
To the sound of children chewing crumbs.

David Amadu is a poet based in Sierra Leone.

When Doctors become Storytellers

“This is how it is when you glimpse a woman for the first time, a woman you know you could love. People are wrong when they talk of love at first sight. It is neither love nor lust. No. As she walks away from you, what you feel is loss. A premonition of loss.”

Freetown, January 1969, an evening party at the university campus. Elias Cole, an academic, sees his colleague’s wife, Saffia and becomes irreversibly attracted to her.  Thus begins the most powerful story of his life, full of betrayal, passion and obsession. Freetown, 1999, in a hospital. Cole is now very ill in the care of Adrian Lockheart, a psychologist. In the same hospital Kai, a young surgeon and a survivor of the civil war, suffers from a double wound: the injuries of war and lost love.

The three lives are intertwined in distress, violence, political and social instability —the perfect context to portray the fragility of the human condition. Unfolding through three simultaneous voices, timelines and spaces, Aminatta Forna’s second novel gives the reader a fragmented, yet vivid and sometimes cruel image of how war changes lives.  However, the fact that the three main characters are either healers or victims of physical injuries (be they victims or doctors), also shows to what point love can be the most vivid and harmful wound.

The plot is centered on memories, on relics, on what is left when love is no more, or, more interestingly, what the survivors of love become. The possible answer, common to the three characters, is that writing and story-telling is only way to keep the feeling, and oneself, alive: Elias Cole’s life is the story that we read when he is speaking to Adrian Lockheart who keeps a textbook of psychologic pathologies as a means of preserving and putting order in his life.

The Memory of Love is a book about what love injuries, like war injuries, can do to the human soul, and also how stories help us gain perspective and direction in life. In the violent context of war, physical pain and death, love marks can only be healed by words and story-tellers become doctors.

The Memory of Love by Aminatta Forna

Bloomsbury Paperbacks| 2011| 978-1408809655

Review by Ioana Danaila

IMG_0478-2Ioana Danaila was born in Romania. She graduated from University Lyon 2 Lumière with a Masters in Postcolonial Literature and a First degree in French for Non-Francophone people. She has published short stories and translated books from French to Romanian. She speaks Romanian, French, English, and Spanish and teaches English to high school students in France.

 

The African Writer and the English Language | Chinua Achebe

Chinua Achebe

In June 1962, there was a writers’ gathering at Makerere, impressively styled: “A Conference of African Writers of English Expression.” Despite this sonorous and rather solemn title, it turned out to be a very lively affair and a very exciting and useful experience for many of us. But there was something which we tried to do and failed—that was to define “African literature” satisfactorily.

Was it literature produced in Africa or about Africa? Could Af­rican literature be on any subject, or must it have an African theme? Should it embrace the whole continent or south of the Sahara, or just black Africa? And then the question of language. Should it be in indigenous African languages or should it include Arabic, English, French, Portuguese, Afrikaans, and so on?

In the end we gave up trying to find an answer, partly—I should admit—on my own instigation. Perhaps we should not have given up so easily. It seems to me from some of the things have since heard and read that we may have given the impression of not knowing what we were doing, or worse, not daring to look too closely at it.

A Nigerian critic, Obi Wali, writing in Transition 10 said: “Perhaps the most important achievement of the conference … is that Af­rican literature as now defined and understood leads nowhere.”

I am sure that Obi Wali must have felt triumphantly vindicated when he saw the report of a different kind of conference held later at Fourah Bay to discuss African literature and the university curriculum. This conference produced a tentative definition of African literature as follows: “Creative writing in which an Afri­can setting is authentically handled or to which experiences orig­inating in Africa are integral.” We are told specifically that Con­rad’s Heart of Darkness qualifies as African literature while Graham Greene’s Heart of the Matter fails because it could have been set anywhere outside Africa.

A number of interesting speculations issue from this definition, which admittedly is only an interim formulation designed to pro­duce an indisputably desirable end, namely, to introduce African students to literature set in their environment. But I could not help being amused by the curious circumstance in which Conrad, a Pole, writing in English could produce African literature while Peter Abrahams would be ineligible should he write a novel based on his experiences in the West Indies.

What all this suggests to me is that you cannot cram African literature into a small, neat definition. I do not see African lit­erature as one unit but as a group of associated units—in fact the sum total of all the national and ethnic literatures of Africa.

A national literature is one that takes the whole nation for its province and has a realized or potential audience throughout its territory. In other words, a literature that is written in the national language. An ethnic literature is one which is available only to one ethnic group within the nation. If you take Nigeria as an example, the national literature, as I see it, is the literature written in English; and the ethnic literatures are in Hausa, Ibo, Yoruba, Efik, Edo, Ijaw, etc., etc.

Any attempt to define African literature in terms which over­look the complexities of the African scene at the material time is doomed to failure. After the elimination of white rule shall have been completed, the single most important fact in Africa in the second half of the twentieth century will appear to be the rise of individual nation-states. I believe that African literature will follow the same pattern.

What we tend to do today is to think of African literature as a newborn infant. But in fact what we have is a whole generation of newborn infants. Of course, if you only look cursorily, one infant is pretty much like another; but in reality each is already set on its own separate journey. Of course, you may group them together on the basis of anything you choose—the color of their hair, for instance. Or you may group them together on the basis of the language they will speak or the religion of their fathers. Those would all be valid distinctions, but they could not begin to account fully for each individual person carrying, as it were, his own little, unique lodestar of genes.

Those who in talking about African literature want to exclude North Africa because it belongs to a different tradition surely do not suggest that black Africa is anything like homogeneous. What does Shabaan Robert have in common with Christopher Okigbo or Awoonor-Williams? Or Mongo Beti of Cameroun and Paris with Nzekwu of Nigeria? What does the champagne-drinking upper-class Creole society described by Easmon of Sierra Leone have in common with the rural folk and fishermen of J. P. Clark’s plays? Of course, some of these differences could be accounted for on individual rather than national grounds, but a good deal of it is also environmental.

I have indicated somewhat offhandedly that the national lit­erature of Nigeria and of many other countries of Africa is, or will be, written in English. This may sound like a controversial statement, but it isn’t. All I have done has been to look at the reality of present-day Africa. This “reality” may change as a result of deliberate, e.g., political, action. If it does, an entirely new situation will arise, and there will be plenty of time to examine it. At present it may be more profitable to look at the scene as it is.

What are the factors which have conspired to place English in the position of national language in many parts of Africa? Quite simply the reason is that these nations were created in the first place by the intervention of the British, which, I hasten to add, is not saying that the peoples comprising these nations were in­vented by the British.

The country which we know as Nigeria today began not so very long ago as the arbitrary creation of the British. It is true, as William Fagg says in his excellent new book, Nigerian Images, that this arbitrary action has proved as lucky in terms of African art history as any enterprise of the fortunate Princess of Serendip. And I believe that in political and economic terms too this ar­bitrary creation called Nigeria holds out great prospects. Yet the fact remains that Nigeria was created by the British—for their own ends. Let us give the devil his due: colonialism in Africa disrupted many things, but it did create big political units where there were small, scattered ones before. Nigeria had hundreds of autonomous communities ranging in size from the vast Fulani Empire founded by Usman dan Fodio in the north to tiny village entities in the east. Today it is one country.

Of course there are areas of Africa where colonialism divided up a single ethnic group among two or even three powers. But on the whole it did bring together many peoples that had hith­erto gone their several ways. And it gave them a language with which to talk to one another. If it failed to give them a song, it at least gave them a tongue, for sighing. There are not many countries in Africa today where you could abolish the language of the erstwhile colonial powers and still retain the facility for mutual communication. Therefore those African writers who have chosen to write in English or French are not unpatriotic smart alecks with an eye on the main chance—outside their own countries. They are by-products of the same process that made the new nation-states of Africa.

You can take this argument a stage further to include other countries of Africa. The only reason why we can even talk about African unity is that when we get together, we have a manageable number of languages to talk in—English, French, Arabic.

The other day I had a visit from Joseph Kariuki of Kenya.  Although I had read some of his poems and he had read my novels, we had not met before. But it didn’t seem to matter. In fact I had met him through his poems, especially through his love poem Come Away My Love, in which he captures in so few words the trials and tensions of an African in love with a white girl in Britain:

Come away, my love, from streets

Where unkind eyes divide

And shop windows reflect our difference.

 

By contrast, when in 1960 I was traveling in East Africa and went to the home of the late Shabaan Robert, the Swahili poet of Tanganyika, things had been different. We spent some time talking about writing, but there was no real contact. I knew from all accounts that I was talking to an important writer, but of the nature of his work I had no idea. He gave me two books of his poems, which I treasure but cannot read—until I have learned Swahili.

And there are scores of languages I would want to learn if it were possible. Where am I to find the time to learn the half dozen or so Nigerian languages, each of which can sustain a literature? I am afraid it cannot be done. These languages will just have to develop as tributaries to feed the one central language enjoying nationwide currency. Today, for good or ill, that language is English. Tomorrow it may be something else, although I very much doubt it.

Those of us who have inherited the English language may not be in a position to appreciate the value of the inheritance. Or we may go on resenting it because it came as part of a package deal which included many other items of doubtful value and the pos­itive atrocity of racial arrogance and prejudice, which may yet set the world on fire. But let us not in rejecting the evil throw out the good with it.

Some time last year I was traveling in Brazil meeting Brazilian writers and artists. A number of the writers I spoke to were con­cerned about the restrictions imposed on them by their use of the Portuguese language. I remember a woman poet saying she had given serious thought to writing in French! And yet their problem is not half as difficult as ours. Portuguese may not have the universal currency of English or French but at least it is the national language of Brazil with her eighty million or so people, to say nothing of the people of Portugal, Angola, Mozambique, etc.

Of Brazilian authors, I have only read, in translation, one novel by Jorge Amado, who is not only Brazil’s leading novelist but one of the most important writers in the world. From that one novel, Cabriella, I was able to glimpse something of the exciting Afro-Latin culture which is the pride of Brazil and is quite unlike any other culture. Jorge Amado is only one of the many writers Brazil has produced. At their national writers’ festival there were liter­ally hundreds of them. But the work of the vast majority will be closed to the rest of the world forever, including no doubt the work of some excellent writers. There is certainly a great advan­tage to writing in a world language.

I think I have said enough to give an indication of my thinking on the importance of the world language which history has forced down our throats. Now let us look at some of the most serious handicaps. And let me say straightaway that one of the most serious handicaps is not the one people talk about most often, namely, that it is impossible for anyone ever to use a second language as effectively as his first. This assertion is compounded of half truth and half bogus mystique. Of course, it is true that the vast majority of people are happier with their first language than with any other. But then the majority of people are not writers. We do have enough examples of writers who have per­formed the feat of writing effectively in a second language. And I am not thinking of the obvious names like Conrad. It would be more germane to our subject to choose African examples.

The first name that comes to my mind is Olauda Equiano, better known as Gustavus Vassa, the African. Equiano was an Ibo, I believe from the village of Iseke in the Orlu division of Eastern Nigeria. He was sold as a slave at a very early age and transported to America. Later he bought his freedom and lived in England.  In 1789 he published his life story, a beautifully written document which, among other things, set down for the Europe of his time something of the life and habit of his people in Africa, in an attempt to counteract the lies and slander invented by some Europeans ­to justify the slave trade.

Coming nearer to our times, we may recall the attempts in the first quarter of this century by West African nationalists to come together and press for a greater say in the management of their own affairs. One of the most eloquent of that band was the Honorable Casely Hayford of the Gold Coast. His presidential ad­dress to the National Congress of British West Africa in 1925 was memorable not only for its sound common sense but as a fine example of elegant prose. The governor of Nigeria at the time was compelled to take notice, and he did so in characteristic style: he called Hayford’s congress “a self-selected and self-appointed congregation of educated African gentlemen.” We may derive some amusement from the fact that British colonial administra­tors learned very little in the following quarter of a century. But at least they did learn in the end—which is more than one can say for some others.

It is when we come to what is commonly called creative lit­erature that most doubt seems to arise. Obi Wali, whose article “Dead End of African Literature” I referred to, has this to say:

until these writers and their Western midwives accept the fact that any true African literature must be written in African languages, they would be merely pursuing a dead end, which can only lead to sterility, uncreativity and frustration.

 

But far from leading to sterility, the work of many new African writers is full of the most exciting possibilities. Take this from Christopher Okigbo’s “Limits”:

Suddenly becoming talkative
like weaverbird
Summoned at offside of
   dream remembered 

Between sleep and waking
I hand up my egg-shells
To you of palm grove,
Upon whose bamboo towers hang
Dripping with yesterupwine
A tiger mask and nude spear…. 

Queen of the damp half light,
   I have had my cleansing.
Emigrant with air-borne nose,
   The he-goat-on-heat.

Or take the poem Night Rain, in which J. P. Clark captures so well the fear and wonder felt by a child as rain clamors on the thatch roof at night, and his mother, walking about in the dark, moves her simple belongings

Out of the run of water

That like ants filing out of the wood

Will scatter and gain possession

Of the floor.

I think that the picture of water spreading on the floor “like ants filing out of the wood” is beautiful. Of course, if you have never made fire with faggots, you may miss it. But dark’s inspi­ration derives from the same source which gave birth to the saying that a man who brings home ant-ridden faggots must be ready for the visit of lizards.

I do not see any signs of sterility anywhere here. What I do see is a new voice coming out of Africa, speaking of African experience in a worldwide language. So my answer to the ques­tion Can an African ever learn English well enough to be able to use it effectively in creative writing? is certainly yes. If on the other hand you ask. Can he ever learn to use it like a native speaker?  I should say, I hope not. It is neither necessary nor desirable for him to be able to do so. The price a world language must be prepared to pay is submission to many different kinds of use. The African writer should aim to use English in a way that brings out his message best without altering the language to the extent that its value as a medium of international exchange will be lost. He should aim at fashioning an English which is at once universal and able to carry his peculiar experience. I have in mind here the writer who has something new, something different to say. The nondescript writer has little to tell us, anyway, so he might as well tell it in conventional language and get it over with. If I may use an ex­travagant simile, he is like a man offering a small, nondescript routine sacrifice for which a chick, or less, will do. A serious writer must look for an animal whose blood can match the power of his offering.

In this respect Amos Tutola is a natural. A good instinct has turned his apparent limitation in language into a weapon of great strength—a half-strange dialect that serves him perfectly in the evocation of his bizarre world. His last book, and to my mind, his finest, is proof enough that one can make even an imperfectly learned second language do amazing things. In this book, The Feather Woman of the Jungle, Tutola’s superb storytelling is at last cast in the episodic form which he handles best instead of being pain­fully stretched on the rack of the novel.

From a natural to a conscious artist: myself, in fact. Allow me to quote a small example from Arrow of God, which may give some idea of how I approach the use of English. The Chief Priest in the story is telling one of his sons why it is necessary to send him to church:

I want one of my sons to join these people and be my eyes there. If there is nothing in it you will come back. But if there is something there you will bring home my share. The world is like a Mask, dancing. If you want to see it well you do not stand in one place. My spirit tells me that those who do not befriend the white man today will be saying had we known tomorrow.

Now supposing I had put it another way. Like this, for instance:

I am sending you as my representative among these peo­ple—just to be on the safe side in case the new religion de­velops. One has to move with the times or else one is left behind. I have a hunch that those who fail to come to terms with the white man may well regret their lack of foresight.

The material is the same. But the form of the one is in character and the other is not. It is largely a matter of instinct, but judg­ment comes into it too.

You read quite often nowadays of the problems of the African writer having first to think in his mother tongue and then to translate what he has thought into English. If it were such a simple, mechanical process, I would agree that it was pointless— the kind of eccentric pursuit you might expect to see in a modern Academy of Lagado—and such a process could not possibly pro­duce some of the exciting poetry and prose which is already ap­pearing.

One final point remains for me to make. The real question is not whether Africans could write in English but whether they ought to. Is it right that a man should abandon his mother tongue for someone else’s? It looks like a dreadful betrayal and produces a guilty feeling.

But, for me, there is no other choice. I have been given this language and I intend to use it. I hope, though, that there always will be men, like the late Chief Fagunwa, who will choose to write in their native tongue and ensure that our ethnic literature will flourish side by side with the national ones. For those of us who opt for English, there is much work ahead and much ex­citement.

Writing in the London Observer recently, James Baldwin said:

 

My quarrel with the English language has been that the lan­guage reflected none of my experience. But now I began to see the matter another way…. Perhaps the language was not my own because I had never attempted to use it, had only learned to imitate it. If this were so, then it might be made to bear the burden of my experience if I could find the stamina to challenge it, and me, to such a test.

 

I recognize, of course, that Baldwin’s problem is not exactly mine, but I feel that the English language will be able to carry the weight of my African experience. But it will have to be a new English, still in full communion with its ancestral home but al­tered to suit its new African surroundings.

 

 

Sierra Leone: Farewell To My Dying Native Land (excerpt)| Tom Cauuray

When the sky played the rain-song
And the showers danced with you,
I remember the rhythm and the tune,
The whirring waltz which lulled my eyes to sleep.
These woes of war belabour sleep.

When you washed your dark-brown skin,
I smelled your spray of earth-perfume,
But now the scent of smouldering human flesh.
Your forests are scorched.
Your fauna crushed.
Your cheerful twigs on the bush-road edge,
Whose playful sprinkle washed my head,
Are all dead, now weevil’s bed.

Tom Cauuray was one of Sierra Leone’s foremost writers, intellectuasls, and adventurers. Forced to flee during the war, the poem was written upon his return to the country. Cauuray died in Sierra Leone in 2009.

A Long Way Gone: Memoirs of a Boy Soldier

Who: Ishmael Beah

What: The coming of age story of a boy soldier in Sierra Leone

Why: War

Should I read It: Absolutely!

Qq: ‘When I was little, my father used to say, “If you are alive, there is hope for a better day and something good to happen. If there is nothing good left in the destiny of a person, he or she will die”’ –Pg 54

A Long Way Gone: Memoirs of a Boy Soldier, leaves behind the distant jargon of discourse surrounding war, and in a gorgeously frank voice shows us the humanity such discourse avoids. When we hear about rebels taking over a city, women raped before their families, suicide bombers in crowded marketplaces, and focus on the violence, we catalogue it as ‘news’ but never engage with the emotions, the people, the humanity lost, found, and altered within such violence. Memoirs of a Boy Soldier isn’t just about war, it’s more than a coming of age story in a desperate situation, it’s a tender vice that slowly expands reader’s understanding of how much humanity is. A Long Way Gone shows that in spite of all the pain and horrors humanity can inflict and accommodate, the lengths the human spirit will go to hold us together, to reach out to other people, and find in our hearts, new spaces to call home. Beah notes, “If there is nothing good left in the destiny of a person, he or she will die” (54). A Long Way Gone is evidence that perhaps there is always good lying ahead, and the human spirit is capable of fighting very hard to get there.

A Long Way Gone: Memoirs of a Boy Soldier by Ishmael Beah

Sarah Crichton Books | 2007 | ISBN: 918-0-374-53126-3

Check out our interview with Ishmael Beah here. 

Ishmael Beah: An Interview

We were fortunate enough to get an interview with the author of our first review (A Long Way Gone), Ishmael Beah. We had a great conversation, not only was Beah gracious in accommodating our probing questions into the intense emotionality behind the book, but also astute in discussing Sierra Leone today, his hopes for his country, and efforts to make it a place that matches those hopes. 

Ishmael Beah

ARBWhile reading A LONG WAY GONE, we were both moved and intrigued by the way you wove past and present to provide a fuller narrative. How was the process of going back and sorting through your memories to put the book together?

BEAH: It was very difficult to relive the memories of the war during the writing of the book. It was also the first time that I had allowed myself to delve back fully into what had happened as I needed to relive it again to be able to write it with the same emotions, feelings of the boy I had been in the war.

I wanted the reader come along the journey, to see hear, smell, and be close to what it felt like.

Of course this brought about nightmares and flashbacks again. I am happy that I did though; it is a small price, remembering, however difficult it was during writing, to pay so that people can know the story.

I survived and that comes with a responsibility.

So I wrote all I could remember and double checked the memories. The ones I doubted, I threw out and of course I also decided to leave out some things so that the book didn’t become a celebration of violence but rather showing what violence does to the human spirit.

Continue reading “Ishmael Beah: An Interview”