By Dan Amor
Even for the casual observer of the convoluted Nigerian social
system, the news of the murder of Professor Festus Iyayi, a University of Benin
(UNIBEN) Professor, creative writer and human rights activists, was rudely
shocking. The former President of the Academic Staff Union of Universities
(ASUU) was said to have died on Tuesday November 12, 2013 in an accident
involving the convoy of the then Kogi Sate Governor Idris Wada. He was just 66.
This was one inexplicable death too many. Four years after and given the fact
that this was now the second fatal crash involving Wada’s convoy, the Federal
Government is yet to punish the driver of his convoy’s vehicle that hit the bus
in which the lecturers were traveling.
*Festus Iyayi |
Like Chima Ubani, another fire-brand activist who was killed in a
similar circumstance a few years back, Iyayi was yet another victim of the
penchant for the Nigerian
State to murder its best
and brightest stars. But I write of him today not only as a committed
intellectual and activist but also as one of the best literary minds to have
emerged in the twentieth century anywhere in the world. For Iyayi, one of
Africa’s shining titans in the literary firmament, there is no more intrinsic
and indivisible quality of art, no better, no other initiation is there into
the craft of creative writing but the most discriminating and appreciative
practice of the literature of engagement. The Nigerian politicians’ betrayal of
national trust and the general apathy of the citizens provoked a fighting
(revolutionary) literature from writers through committed satirization of
society with prophetic dimensions.
The traumatic effects of the social upheaval in the mid-sixties, the
civil war and its attendant horrors, increased writers' political commitment.
Writers were caught in ambivalence after the war: torn between anguish over the
predatory tendencies in human nature, as displayed in the mutual destruction of
lives and property, and the need to reconstruct society after the catastrophe.
Iyayi was without doubt, a leading proponent of the socialist realist tradition
of the African novel, whose books, to date, have demonstrated the writer’s
total commitment to the radical transformation of a society caught in the
unholy and rapacious embrace of a neo-imperialist and neo-colonialist social
order. An enduring epitome of the writer as crusader, Iyayi was at the
commanding height among the flag-bearers of a generation of angry Nigerian
writers whose works not only represent and protest, but also uncompromisingly
undermine alienation in all ramifications.
These works remorselessly lay bare the laws on which the alienating
social order is based and emphasizing their historical artificial character.
They also offer a ruthless critique and demystification of the originality of
the existing stultifying order, encapsulated in powerful artistic imageries and
of a viable alternative hegemony. In Iyayi, there is a direct immersion of the
writer and his art as we found his life exemplifying his literature or
vice-versa. He was an indomitable social activist, front-line trade unionist
and committed leftist. No other Nigerian writer since Professor Wole Soyinka
and Saro-Wiwa, has suffered more deprivation, humiliation and personal physical
and psychological discomfort from the hands of state apparatus, state
superstructure and Nigeria ’s
eating Generals and their cronies, for his beliefs than Iyayi. We would only
explicate the socialist realist option which Iyayi articulates in his last but
one novel, Heroes, although his earlier two novels, Violence (1983) and The
Contract (1985) beat a similar structural and thematic path.
The central concern and pre-occupation of Iyayi’s Heroes (1985) is
with the urgency for mass ideological preparation which he found as inevitable
for the attainment of freedom and a national culture. Whereas the dominant
structural element in Violence (1983) is the abrupt opposition of the
oppressors by the oppressed, in his second novel, The Contract, Iyayi
yields the stage to the infinite appropriators so that we can see them clearly
in all their grotesque garishness. Iyayi, winner of the 1996 All Africa Christopher Okigbo Prize for
Literature, was a distinguished economist and scholar who came to limelight
in 1979 as an activist university don. With his first novel, Violence,
he instantly became a beacon of hope for the new African writing that is
ideologically open to no further investigation. In 1987, Iyayi won both the
Association of Nigerian Authors (ANA) prose prize and the African Regional
Commonwealth Writers Award.
In 1988, Iyayi’s Heroes, won the prestigious
Commonwealth Distinguished Writers Prize valued at 10,000 British pounds. It
was an exciting moment for Nigeria .
In an attempt to assemble those irrefutably condensed experiences of the
Nigerian Civil War into creative metaphors, Prof. Iyayi enthused that through
peripheral, concrete and material manifestation of the cathartic process, the
phenomenal axis of rebirth would have emerged from the fundamental
understanding of those factors that brought the war about. As we remember this
week this polyvalent genius in our soulless and murderous nation, may his
gentle soul continue to rebel in the literary firmament!
*Dan Amor, a public affairs analyst, writes from Abuja (danamor641@gmail.com)
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