{"id":1232,"date":"2019-11-19T08:29:24","date_gmt":"2019-11-19T08:29:24","guid":{"rendered":"https:\/\/masobebooks.com\/ng\/?p=1232"},"modified":"2024-05-22T13:51:33","modified_gmt":"2024-05-22T13:51:33","slug":"dont-project-your-reading-choices-on-me","status":"publish","type":"post","link":"https:\/\/masobebooks.com\/ng\/dont-project-your-reading-choices-on-me\/","title":{"rendered":"Don’t Project your Reading Choices on Me"},"content":{"rendered":"

There are theories that suggest, and not without good reason, that African literature in its earliest stages (of recognition) was mostly \u201cprotest writing\u201d with a tinge of history. Suggestions of this nature derive their validity from the fact that most of the books published by African authors at the time were at the very least, reactions to the socio-political reality that pervaded the continent at the time. Between the 1940s and the 1960s, it was rare to stumble on texts that did not attempt to address the subject of colonialism. Peter Abrahams\u2019 \u201cMine Boy\u201d dwelt on South Africa\u2019s pre-apartheid days, Chinua Achebe\u2019s \u201cThings Fall Apart\u201d and \u201cArrow of God\u201d were centred on narratives that focused on British incursion into Eastern Nigeria, and \u201cWest African Verse\u201d (a poetry anthology edited by Donatus Nwoga) comprised poems from all corners of the continent that were largely cries for freedom and calls for unity in the struggle to rid the continent of (direct) European subjugation.<\/p>\n

As a result, art enthusiasts would usually have to resort to \u201cimported literature\u201d (for want of a better word), if they were going to read anything that was significantly different. This was not difficult to achieve, as schools had to rely on foreign texts to navigate the early post-independence academic curriculum which still bore significant influence from the British Empire. There was room for massive infiltration of foreign novels, and Nigerians grew to read about (and even fall in love with) fictional characters such as Oliver Twist, Tom Sawyer, Huckleberry Finn, Moby Dick, David Copperfield, Long John Silver (from Robert Louis Stevenson\u2019s \u201cTreasure Island\u201d) and Allan Quartermain (from H. Rider-Haggard\u2019s \u201cKing Solomon\u2019s Mines\u201d).<\/p>\n

\"\"<\/p>\n

Of course, indigenous authors pulled their creative weight (the African Writers\u2019 Series treated us to T. M. Aluko\u2019s \u201cOne Man, One Machete\u201d and Cyprian Ekwensi\u2019s \u201cBurning Grass\u201d), but a huge chunk of what found its way to bookshelves across the country was from outside. There\u2019s a reason why Chimamanda Adichie, in her 2008 Ted Talk \u201cThe Dangers of a Single Story\u201d, made reference to being surrounded by books that talked about snow in her childhood years.<\/p>\n

\n

There\u2019s a reason why Chimamanda Adichie, in her 2008 Ted Talk \u201cThe Dangers of a Single Story\u201d, made reference to being surrounded by books that talked about snow in her childhood years.<\/em><\/h4>\n<\/blockquote>\n

Literary tastes changed as the decades slowly rolled by, and new themes were being addressed too: Buchi Emecheta questioned gender politics with \u201cThe Joys of Motherhood\u201d and \u201cSecond Class Citizen\u201d, and Elechi Amadi\u2019s \u201cSunset in Biafra\u201d chronicled the horrors of the Nigeria civil war. But the African Writers\u2019 Series would ultimately phase out, and even when the educational sector witnessed some indigenisation, there was still significant Western influx: for every \u201cThe Gods Are Not To Blame\u201d there was a \u201cDoctor Faustus\u201d, and Gabriel Okara\u2019s poetry compilations sat side by side with Shakespeare\u2019s plays in libraries.<\/p>\n

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The reading culture in Nigeria saw a massive decline between the mid-1980s and the late 1990s, a state of affairs which may not be unconnected with the vice grip of successive military administrations, but the turn of the century ushered in a resurgence of sorts. There has been a massive shift from the \u201cpoverty porn\u201d that dominated African books, and new stories are being told: Igoni Barrett has made us see white men moving around with black backsides, Lola Shoneyin got us peering into the scheming minds of co-wives in polygamous marriages, and Ms. Adichie had us rooting for a libertine woman while swooning over natural hair. The poems have changed too, with rhyming on political discourse making way for more personal and confessional verses, an Osundare for an Oriogun, so to speak.<\/p>\n

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There has been a massive shift from the \u201cpoverty porn\u201d that dominated African books, and new stories are being told: Igoni Barrett has made us see white men moving around with black backsides\u2026<\/em><\/h4>\n<\/blockquote>\n

Nigerians consume books on a more regular basis lately, but what traditional literary purists may have failed to catch up on, however, is the diversity of genres and the intellectual processing thereof. There are more self-help as well as creative non-fictional books now, and they cannot be mentally received in the same way as fiction would. A body of work like \u201cHow to Hang from A Chandelier in a Red Negligee\u201d cannot be viewed from the same telescope as Elnathan John\u2019s \u201cBorn on a Tuesday\u201d. There is also a slowly increasing demand for personal stories that are relatable and remind people that they are not alone, which is why Jim Ovia\u2019s \u201cAfrica: Rise and Shine\u201d, Naijasinglegirl\u2019s \u201c29, Single & Nigerian\u201d, Ese Walter\u2019s \u201cNaked\u201d and Toke Makinwa\u2019s \u201cOn Becoming\u201d have resonated with the working class age demographic. While there are certain standards of readability to live up, books of this nature should not always be perused with the aim of landing on a creative masterpiece.<\/p>\n

\"\"<\/p>\n

Even with Fiction, there is so much sub-categorisation with today\u2019s writing that it would be intellectually dishonest to regard every fictional work with the same prism. There are narratives rooted in ontology, like Chigozie Obioma\u2019s \u201cAn Orchestra of Minorities\u201d which recreates the cultural posers laid out by Amadi\u2019s \u201cThe Concubine\u201d and Ben Okri\u2019s \u201cThe Famished Road\u201d. There are also books with an autobiographical flavour to them, such as Akwaeki Emezi\u2019s \u201cFreshwater\u201d. On the pacier end of the literary spectrum, Toni Kan\u2019s \u201cCarnivorous City\u201d and Leye Adenle\u2019s \u201cEasy Motion Tourist\u201d as well as Oyinkan Braithwaite\u2019s \u201cMy Sister The Serial Killer\u201d (and to a lesser extent, Ayodele Olofintuade\u2019s \u201cLakiriboto Chronicles\u201d) assuredly point to a renaissance in Nigerian crime fiction.<\/p>\n

\n

Even with Fiction, there is so much sub-categorisation with today\u2019s writing that it would be intellectually dishonest to regard every fictional work with the same prism.<\/em><\/h4>\n<\/blockquote>\n

If there were any doubts as to the ability of speculative fiction to thrive in these parts, Nnedi Okoroafor and Tomi Adeyemi\u2019s works have put those doubts to bed, with T.J. Benson\u2019s \u201cWe Won\u2019t Fade Into Darkness\u201d and Lesley Nneka Arimah\u2019s \u201cWhat It Means When A Man Falls From The Sky\u201d also providing more fodder for the Afro-futurism discussion. Romance Fiction has a whole market with itself too, with the Ufere publishing outfit granting Nigerians access to authors like Kiru Taye (\u201cKeeping Secrets\u201d, \u201cBound To Fate\u201d) and Amaka Azie (\u201cThorns and Roses\u201d, \u201cLove at First Sound\u201d, \u201cThe Governor\u2019s Wife\u201d). When it comes to retelling past events from a fictional perspective, Tunde Leye puts out a strong foot with his historical novel \u201cAfonja: The Rise\u201d.<\/p>\n

\"\"<\/p>\n

Appreciating well-woven art is by no means a negative thing, and it is only right to drool over excellent penmanship, but what leaves a sour taste is the tendency of some literary enthusiasts to sneer at the craft of certain writers because their creative output does not fit into their definition of \u201criveting prose\u201d and \u201cdeep art\u201d. It is pertinent to note that certain sub-genres of Fiction need to have their narratives scribbled in a manner that is easily digestible, and there are also considerations as to the size of the work for the purpose of maintaining the interest of readers. Genre-specific books have their nuances, and there is verbiage that exists because the books in question are written for a particular target audience.<\/p>\n

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but what leaves a sour taste is the tendency of some literary enthusiasts to sneer at the craft of certain writers because their creative output does not fit into their definition of \u201criveting prose\u201d and \u201cdeep art\u2026<\/em><\/h4>\n<\/blockquote>\n

It would be unfair, then, to pan Ms. Okoroafor\u2019s Sunny franchise simply because it is written in a way that accommodates kids, or to grab Ms. Braithwaite by the hair simply because the writing style in her debut novel is \u201cbasically chick-lit and too laid back for a crime thriller\u201d. Doing that would be repeating the mistakes of previous decades, where Ekwensi\u2019s art was derisively classified as \u201cOnitsha Market Literature\u201d, and authors like S. M. O. Aka, Nkem Nwankwo and Anezi Okoro hardly got any credit from literary elitists even though (and probably because) \u201cCheer Up, Brother\u201d, \u201cTales Out of School\u201d and \u201cOne Week, One Trouble\u201d were well received in secondary schools and couldn\u2019t pass for \u201chighbrow writing\u201d.<\/p>\n

\"\"<\/p>\n

Farida Adamu, researcher and data analyst, feels that a number of key players in Nigeria\u2019s modern literary community are placing too much premium on certain kinds of books.
\n\u201cI think we need to be more expansive when it comes to content\u201d, she says. \u201cI saw a post somewhere on Facebook where a lady claimed that \u2018high-end poetry\u2019 is no longer being appreciated because people now do spoken word performances and reel out verses in short bites. She was implying that poetry has to be rendered in a particular way to be deemed \u2018true art\u2019.<\/p>\n

\u201cAgain, I think that writers live in a world that is significantly isolated from reality. Many of us prefer to imagine rather than dive headlong into social issues, and while literary fiction is important as a genre, it\u2019s not all there is. The average person would rather buy a self-help publication on \u2018how to live in Nigeria on fifty thousand naira a month\u2019 than something about two people who met on a beach, fell in love and began to count stars in the sky while lying on grass\u201d, Farida adds.<\/p>\n

On his part, William Moore, spoken word performer and novelist, believes that readers and even publishers need to expand their horizon. In his words, \u201cas it appears, the local literary economy is not enough to support books, and it\u2019s unclear whether this is as a result of lack of interest or recurrent abysmal marketing failure. However, there seems to be a clear preference for African literature that \u2018can be exported and is likely to win prizes\u2019, hence the proliferation of books with certain themes. Personally, I believe any compelling story can be exported, no matter what it seeks to address. You see this in the rise of Afro-fantasy in the West, and I hope publishers catch up on this. Besides, I think we should stop listening to people who gauge literature solely based on what fits into their thematic reality\u201d.<\/p>\n

\"\"<\/p>\n

Art is as dynamic as it is expansive, art evolves, and art reinvents itself now and then to suit modern tastes. Fans of mob movies cannot call out producers of chick flicks for \u201cmaking bad movies\u201d, and comic book aficionados have no right, really, to say that telenovellas constitute sub-par art. It\u2019s the same way metal rock heads shouldn\u2019t really frown at the EDM genre, and it is why lovers of 1990s hip hop have to stop slating trap music: the respective art forms speak to different groups of people, consumers\u2019 desires vary, and to knock one because of the other reeks of poor intellectual range. Reminisce on your James Hardley Chase classics all you want, but don\u2019t speak condescendingly to those who immersed themselves in the Mills and Boons series.<\/p>\n

\n

Art is as dynamic as it is expansive, art evolves, and art reinvents itself now and then to suit modern tastes.<\/em><\/h4>\n<\/blockquote>\n

Sure enough, bad writing should not be rewarded with any sort of patronage, but no book should be viewed without taking into consideration the themes it seeks to address, as well as the family it belongs and whom it seeks to speak to. The market is large enough for all kinds of fruit, so it is imperative for people to restrain themselves from projecting and imposing their tastes on others, because tongues differ.<\/p>\n","protected":false},"excerpt":{"rendered":"

There are theories that suggest, and not without good reason, that African literature in its earliest stages (of recognition) was mostly \u201cprotest writing\u201d with a tinge of history. Suggestions of this nature derive their validity from the fact that most of the books published by African authors at the time were at the very least,…<\/p>\n","protected":false},"author":1,"featured_media":1233,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[336],"tags":[],"thb-sponsors":[],"class_list":["post-1232","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-editors-pick","thb-post-share-style1"],"acf":[],"yoast_head":"\nDon't Project your Reading Choices on Me - Masobe Books<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/masobebooks.com\/ng\/dont-project-your-reading-choices-on-me\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Don't Project your Reading Choices on Me\" \/>\n<meta property=\"og:description\" content=\"There are theories that suggest, and not without good reason, that African literature in its earliest stages (of recognition) was mostly \u201cprotest writing\u201d with a tinge of history. 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