EFUNSETAN ANIWURA. By Akinwunmi Isola

 

It is a thing of joy when ancestral iconic African figures (personalities) have their life and times depicted in print; be it biographies, poetry or drama. The legend (and factual reality) of Chaka (Shaka) the Zulu is arguably the most patent  example in Africa, with surfeit of major books comprising prose, poetry and drama published on this personality - and world class pertinent films to boot! The story of an exceedingly powerful, awe-inspiring, legendary woman like Efunsetan Aniwura, erstwhile "Iyalode of Ibadan" is one rather familiar to those of Yoruba extraction, a ruthless woman who held sway at a time when women were supposed to play second/third fiddle in old Africa! The author, Akinwunmi Isola by writing this drama on the woman (Efunsetan Aniwura) has done much to focus the spotlight on this protagonist over the decades, with spin-off tv dramas, movies et al based on his work flourishing over the decades, and taking hold of the popular imagination. Yet the author has admitted that he might have misrepresented this legendary woman in his work, which was after all written when the author was very much a young man, and a student; and going through this work, it is discernible that the playwright embarks on a lot of artistic licence. Yet, salient history shows that Efunsetan did exist, was feared far and wide, and renowned for her exceeding transcendent cruelty. It might well have been because she found it difficult to conceive or bear children - male children in any event - which "pushed her over the edge" . Or probably she was just evil and tyrannical by nature with faustian overtones - a theory which I personally would concur with. But no matter - suffice it to state (as we learn from this work and its flamboyant, colourful language) that the woman's notoriety was such that the powers-that-be had to do something to nip her atrocities in the bud. Which they do. Whether in the original Yoruba or its English translation, this is a gripping work on an intriguing, larger than life woman

WINDMILLS OF THE DAMES. By Omoseye Bolaji

“It can be intimidating reviewing the work of a very good (African) writer like the author, Mr Bolaji here. Often we hardly know much about our authors, just identifying them with a book or two, but when the writer in question has published so many books, sports, fiction, poetry, novels, criticism etc like Bolaji has done, one tends to put such a writer on a pedestal. It is often said that Bolaji has been in decline over the last 5 years or so, but it depends on the perspective; it might well be because his last major work of fiction (Tebogo and the bacchae) came out almost five years ago. But Bolaji has continued to write a lot since then, mainly short general essays, criticism, reviews; and considering his experience this is formidable in itself. Like all the shorter writings in this book, Windmills of the Gods. A lot of them have to be read again and again, even slowly, to appreciate the ingenuity of the author's craft. Many of the chapters read like short stories, so how do we claim that the author is no longer creative? The section where the author tries to wade into a dispute between a young female friend of his and her boyfriend reads exactly like a gripping short story. Even the chapter where the author refers to a particular reception of his book, It couldn't matter less, looks powerful and imaginative. Yet the author in this work is generally referring to fleeting experiences in his life. Including the title story, Windmills of the dames which touches on a Senegalese community in South Africa. On my own part, I love and appreciate virtually everything the author Bolaji writes...this book is no different.” – Henry Ozogula

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“About this work, the well known critic, Pule Lechesa has commented: “What an intriguing title (Windmills of the Dames) by Bolaji. It immediately reminds us of the classical poem by celebrated poet Longfellow: “Though the mills of God grind slowly yet they grind exceeding sure”

This would suggest strongly that the columnist is implying that after centuries of undermining women (“dames”) by the world – until just over a hundred years ago, eg even in western countries women had very limited rights – women nowadays seem to be getting some sort of retribution (revenge) on men, with the latter bearing a lot of the burden these days.

By the same token, alternatively there is also the implication that women might also pay ultimately for whatever heartaches they are meting out to partners.

Additionally, literary pundits often point to Sidney Sheldon as a possible influence on Bolaji’s writing (as Wikipedia article on Bolaji suggests) One of Sheldon’s most famous books is Windmills of the Gods, which reminds us yet again of this particular title – Windmills of the Dames”

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“Omoseye Bolaji is an illustrious African writer whose body of work straddles many genres - fiction, poetry, drama, criticism, sports etc. Over the years he has published some 30 books which showcase his breath-taking range and breadth.

“Windmills of the Dames (2014) follows on the heels of earlier works of his like Thoughts on Free State Writing (2002), Miscellaneous Writings (2011) and, It couldn't matter less (2013). Here we can savour a flotilla of gripping shorter writings that run the gamut of human experience. “ – (from the blurb)

MASTER OF THE GAME. By Sidney Sheldon

Well - a confession must be made, I find it embarrassing when some people frequently tell me nowadays that I have done well to review "many African books and writers...you are one of the few readers who obviously read virtually only African books". Alas, this is patently untrue! It would shock such people to learn that over the years, most - actually like over 80 percent! - of my reading, has involved Eurocentric writers and their work. Why I might focus on reviewing African works is simple: I reckon that the western world already has a throbbing surfeit of readers, critics, studies on their literary protagonists, which is not the case for most African works! So why should I review eurocentric works? Also, why this preamble? After just re-reading this book, Master of the Game, I realised how much I love(d) the Sidney Sheldon novels, and how I read the whole series again and again in the recent past. If only I could do the same with African works! Anyway, Master of the Game is Sidney Sheldon at his best, featuring what he does best - a very powerful, alluring, larger-than-life woman (Kate Blackwell) who on the surface has it all. Except that she doesn't. What she is obsessed with, especially as she gets older, is to have someone in the family to take charge of the mammoth monolithic Kruger-Brent company that she has sacrificed all her long life for. Her own child, and grandchildren have disappointed her greatly in this wise, despite all her schemes and manipulations. And despite the fact that she is one of the richest and most powerful women in the world. This superb story spans a hundred years or so, starting with Jamie who initially suffers incredibly before building a dynasty of diamond fortune; then his remarkable daughter, Kate, takes over turning the company into a global conglomerate; Tony, her son is only really interested in being a painter, and his mother's manipulations to try to prod him into what he is not ends in disaster; Tony's own lovely daughters (twins) also disappoint Kate, with one of them (Eve) who seems best qualified to run the company apparently possessed with evil...will young Robert (Kate's great grand-son) turn out to fulfill the desires of Kate? By the end of the novel Kate is 90, and Robert is only 8, and interested only in music. But it is clear that even at her age Kate would still do all she can to ensure the boy takes over Kruger-Brent one day...what a story!!!
- Eric

WHY ARE WE SO BLEST? By Ayi Kwei Armah

The author, Armah, elicits extraordinary respect from around the world, and deservedly so - after his phenomenal contributions to African literature over the decades. Why are we so blest? is his third published novel, nowhere as popular as his initial Beautyful ones are not yet born. Yet the style and ideas are the same, intellectualism and ideologies; role of artist(s) in Africa... Main protagonist here is Modin; Aimee, the white American girl, and Solo, the north African ideologue, so to speak. We read about Modin in America and his studies and impressions there. We are introduced to Jefferson, who incidentally suffers from impotence. The author is characteristically bland and dispassionate. As a pundit noted "Armah's account (of prof Jefferson's impotence) lacks the faintest tincture of that compassion which usually accompanies recognition of tragic facts" The vista of this work is wide, embracing different continents and countries. Modin and Solo get acquainted and somewhat bond. Modin and Aimee remain close and very intimate, till the grim end. And a grim end it is indeed for Modin as OAS terrorists set upon him and his girl and horrifically castrate Modin and leave him to die... Aimee is released after being raped, and she can tell Solo what happened; Solo grieves and feels a big sense of loss. Note that Solo in this work reminds one of Baako in Fragments, as both indulge in artistic isolation, without tangible social contact. A very well written novel which leaves one quite sad in the end