THE GROWTH OF FREE STATE BLACK LITERATURE

Edited by Ishmael Mzwandile Soqaga

New essays on Omoseye Bolaji, Flaxman Qoopane, NMM Duman, Charmaine Kolwane, Tiisetso Thiba, Matshidiso Taleng, George Rampai et al 

And the Blurb:

ISBN 978 – 0 – 620 – 81626 - 7

The way Free State Black Writing has grown by leaps and bounds in recent times encapsulates the general picture in Africa itself, over the decades.

It is no surprise that phalanx of literary aficionados have found the Free State literary scene illuminating, and have written extensively about it. Such observers include respected critics and authors like Aryan Kaganof, Achal Prabhala, Petro Schonfeld, Raphael Mokoena, Tiisetso Thiba, Leke Giwa, among many others.

Indeed, Free State Black Writing is a microcosm of literary trends in the African continent as a whole. The Free State has now produced impressive wordsmiths, some of whom are recognised worldwide in literary circles/studies: writers of fiction, poets, dramatists, biographers, and literary commentators/critics. Talented (new) writers continue to emerge, and the evaluation of requisite works keeps on ever-throbbing.

Quite a number of disparate works have already been published on Free State Black Writing (including riveting parallels with the outstanding 'Onitsha Market Literature' of yore, by some scholars.) Yet the dynamism of the pertinent literature remains an intriguing, integral process.

 
This new work has been put together by one of the most successful of the new-wave Free State Writers, Ishmael Mzwandile Soqaga, who, happily enough constitutes a bridge between the recent past (the genesis) and the present. A formidable researcher and award winning essayist, Mr Soqaga has already published a number of significant books in his own right.

The Growth of Free State Black Literature - this new work- is invaluable, as it straddles the past and the present, with echoes of the internationalism of literature itself, with striking emphasis on African writing. It is a book which scholars, researchers, and the general reader will find fascinating.

For enquiries about this new work, published by Eselby Jnr Publications, please contact soqaga.ishmael@gmail.com

TELL ME YOUR DREAMS. By Sidney Sheldon

A savage killer whose modus operandi sends a chill down men's spines: viciously stabbing the men to death, and then cruelly slashing off their private part! Apparently a demon straight from hell; yet the truth might be unbelievable. 

The killer, a woman is charming, courteous, amiable, peace loving. The epitome of a most desirable young woman. And for good measure, her father is a world renowned doctor, who will pull out all the stops for her. And our heroine here is not even aware that she has killed 3...ah, 4...5...men in a most heinous manner. 

Confused? So should one be. That is Sidney Sheldon for you. This is a chilling story, confusing and unpalatable in many parts. Inevitably, Ashley's world falls apart, resulting in a celebrated trial - with the horrified world focused on the goings-on in the court.

Is Ashley a cold blooded killer, or is she innocent? Forensic evidence shows that she is as guilty as hell. Yet...

- Paul Lothane

GRIPPING ‘OLOOLU’ IN BOLAJI’s FAR UP FAR OUT FAR MORE!

There is much to enjoy and relish in this book, as the author provides his usual glimpses into life and society even in non fiction like this. Generally the background here is west Africa, with some interesting/intriguing real-life situations; which many times gives the impression if fiction, mainly short stories.

The unexpected twists in some of the stories are compelling, but for me the "chapter" titled OLOOLU is by far the most gripping. It can be like a case study of how Bolaji manages to pull off interesting writing, a sort of microcosm. Let us look at this very short piece in some detail.

Firstly, what is Oloolu? Why are women in particular terrified of the very word? "Oloolu is on its way!!!" as we are told, as "people scattered, running helter skelter! Even animals like goats and hens scurried for cover...". Why, "some people were already closing their shops".

So what is Oloolu? The author/narrator initially states blandly: "...ancestral masquerades...Egungun. Stated to be the masked spirits of the ancestors...". And Oloolu, a masquerade , "must not see females, else unspeakably bad things would happen to them!". And assorted women were already running for dear life now...

A cultured woman who obviously does not know what is going on alights from a taxi and asks the narrator (author) what Oloolu is, and he obliges her. The reaction of the "cultured" woman is as dramatic, as it is unnerving: "The lady flinched. She seemed to shrivel, suddenly lapsing into pidgin...'I know di kin' bad masquerade, dey no fit see woman!...I no go anywhere again-o; driver, make we go back-o! I no wan die now!".

We might note here, does the narrator share the belief, even now in very modern times, that Oloolu can still be a threat to society? Does he really believe in the ambience of menace? Does he believe in "masked spirits of the ancestors"? Remarkably he remains almost neutral, essentially just describing what is happening. He does not indicate any fear, but then again, Oloolu is not supposed to be a real threat to men.

The conclusion of the piece is brilliant: "...suddenly, a seemingly malevolent, swirling wind was blowing. A coincidence? People were still making a din, and running...now the evocative, stirring drums could be heard from the horizon...Oloolu was coming..." What dread!!

-         - Buruji Mark

SEX IS A NIGGER'S GAME. By Dillibe Onyeama

Generations come and go, but it was not so long ago that many readers especially in Africa tended to confuse this work (Sex is a Nigger's game, by Onyeama), with Naiwu Osahon's Sex is a Nigger).

Intriguing titles, both; and certain to pique the interest of countless readers who might not even have actually read both works, but are just enamoured with what they assume would be rather prurient. Yet both books are quite different, almost to the point of the proverbial chalk and cheese. 

Dillibe Onyeama, always something of a literary iconoclast, had hit the limelight with his first published works, especially Nigger at Eton, which he brought out at a very young age. Like Ben Okri, you might say. Onyeama whilst still in his youth, would go on to publish a string of powerful imaginative works.

One of them is Sex is Sex is a Nigger's game. Here we get glimpses of England, UK at a pivotal time - through the lens of a percipient black man: it is neither here nor there that this is an alter, as it were. We must stress that the voice is a confident one, not cowed or subservient.

The author looks at race relations, 'activism', class, history and even makes forays into the world of publishing in general. Eg he ponders on "lucky writers' who from the outset personally knew, got on well with their publishers, and had their work published easily and regularly.

Probably this was the case with Onyeama himself, who brought out so many books as a young man? But this is not to undermine his great literary talent in any way. So - the penny has dropped? This work is not really about sex, as many might have assumed.

Many might argue that Naiwu Osahon's Sex is a Nigger is somewhat suffused with sex, but this particular book is not about sex per se, despite the title. It is an intelligent, tantalising work with a simple, yet nigh-clinical approach to society with concomitant ripples and undercurrents. 

Like many fine writers, here the author is rather detached, objective, quite rational with a fecundity of engrossing ideas.

- E Malome 

OVONRAMWEN NOGBAISI. By Ola Rotimi

For sheer grandeur, pageantry and the like, this play is really engrossing. Here we relive the erstwhile glory of a powerful monarch/monarchy - another historical drama by the awe-inspiring Ola Rotimi. The whole ambience here reeks with grandeur and dignity. A superb work. We tend to forget that in the "good old old days" - a time when the wonders of modern science were almost non existent- the world still ambled on, even in Africa here, with strict hierarchy, social classes, mores, pomp et al in most societies no matter how rudimentary. Imagine the rustic world of Thomas Hardy's novels in the Europe of yore - was it not very interesting in its own way? In this particular play, the stirring music and drums, the theatrical truculence and menace, the rich, profound conversations - all recreate a glorious, dusky kingdom.

-         - Paul Lothane