FG Palliatives: A Grain Of Rice For Each Household!

 By Tunde Olusunle

If you were a student of English in my generation, there were au­thors and titles, African and for­eign, you just had to encounter. Nigerian writers like Daniel Fagunwa, Chinua Achebe, Wole Soyinka, Chris­topher Okigbo, John Pepper Bekeder­emo-Clark, Timothy Aluko, Gabriel Okara, Elechi Amadi, Ola Rotimi, Zulu Sofola, Buchi Emecheta, Flora Nwapa, all members of the “first generation” of Nigerian writers; they were irrevo­cable constants.

On the African scene, Nadine Gordimer, Dennis Brutus, Pe­ter Abrahams, Lenrie Peters, Alan Pa­ton, Ngugi wa Thiong’o, Meja Mwangi, Simon Gikandi, Camara Laye, Kofi Awoonor, Kofi Anyidoho, Ayi Kwei Armah, Sembene Ousmane, Frantz Fanon, Sonne Mbella Dipoko, Nagu­ib Mahfouz and so on were featured variously on our reading lists. Indeed, in several instances, we had prior ex­posure to the works of some of these icons in the syllabuses of our ordinary school leaving and higher school cer­tificate examinations respectively. In our multi-generic poetry, prose, drama, oral literature and stylistics classes in the university, these legends were fur­ther encountered in various ways.

The African Writer Is An Orphan, Says Chinedu Ogoke, Nigerian Writer

[In 2002, CHINEDU OGOKE, a Nigerian writer, academic and translator resident in Germany published his first novel, Under Fire. His second novel is being awaited. In this interview with UGOCHUKWU EJINKEONYE, Mr. Ogoke speaks on his work and the state of African Literature in relation to the still thorny issue of audience definition]

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*Chinedu Ogoke

When we talked in September 2003, after the publication of your first novel, Under Fire (2002), you said you already had the outline of another novel, how soon should we expect to read the novel? 

2003! That is already an age. You mean I have allowed so much time to pass without coming up with another work? Phew, in that time, two novels ought to have been breathing on the table.

I had thought that what I had had been brought to a stage and so laid out that one should just do a smooth drive and that would be it. How wrong I was. Some pages of the outline, which is elaborate, have gone missing. Snatched away by the wind of time. I built a pattern, though simple, that requires a reorientation to keep it going. I have found myself in an undesirable situation whereby I have to walk through the worlds I meant to depict, or replay events in those contexts. I have to rediscover our people’s speech habits and choice of words to construct such scenes. Something like that. They are not inconclusive outlines, but whole portions gone missing. You cannot insert peanuts for perm kernels and expect a flow. The right attitudes have to be found in the appropriate places.

Besides, my current research work came in and has to get priority attention. That naturally, caused some delays. Unless this current project gets out of the way, the manuscript will be lying where it is at the moment. The research work is boring. I detest conventions, and this is what I am forced to do. Rules here and there. Flowery language may be unwelcome here, which takes away the fun and the urge to move ahead with it. Assuming it were a novel, I wouldn’t need a driving license in every corner or adhering to a thousand traffic rules.

In fact, I work on the novel once in a while as a kind of push for the project at hand. Else even the project will be there, with nothing going. One third of the novel has been written, which includes the last page. Let’s see; by the end of this year, 2008, we can be talking about a conclusion of a second novel. Publishing is something else, for obvious reasons.