FELA: THIS BITCH OF A LIFE. By Carlos Moore

I have always been fascinated by people who go out of their way to put together books, monographs, studies or biographies involving others. I often feel that in most cases such works are labours of love, as it were.

In the case of this book, the subject/protagonist, Fela is one of the most fascinating and flamboyant characters in African history. "Abami eda" (Fela) was a larger than life character, a spectacular musician, an "Africanist " - and what a polemicist!!

This is a comprehensive work focusing on the life and times of Fela, his initial nuclear family, his education, travels, his evolution over the years. Here we meet Fela the maverick and iconoclast, often clad in his underwear, sociable, inviting people to do things "the African way" including sitting down on the floor, being guided by the spirits, the "Iya Alaje" et al.

Few people suffered the way Fela did, brutalised by the powers that be, soldiers, police etc. He was arrested countless times and charged with so many offences, including murder. His edifice was famously burnt down, his aides and many wives viciously beaten up. Yet Fela remained defiant to the very end. He was along the line accused of kidnapping, "corrupting" women, mainly young women who became his dancers and singers. Fela's response? He married all the women in one fell swoop, over two dozen of them at the same time and occasion!!!

And the women feature prominently in this book, too. The author actually goes out of his way to interview all the "queens", as they were stated to be. It is a fascinating section as the women express their admiration and respect for Fela; talk about structure, discipline, and even the sex life of Fela, which includes his "timetable" in respect of sleeping with so many women. We might be moved to laugh when one of the queens, eg, referring to Fela in bed, declares: "'e be like pepper...'e sweet like pepper!"

The man who put this book together, Moore, for decades, has been something of a maverick himself, a formidable intellectual intrepidly dedicated to the cause of "Blacks", too. As this book shows, his prose is lucid, flowing, powerful. Even after decades, this book still remains a definitive work on "the man who has death in his pouch"(Fela)

- O Bolaji (Eric)

KAYODE ADEGOKE HONOURED

Mr Kayode Adegoke, a top-notch civil servant in the state of  Osun in Nigeria has been honoured by the Lagelites '79 Association. 

An alumnus of Lagelu Grammar School in Ibadan, Mr Adegoke was highly lauded in the formal Citation at the event, sparking applause and plaudits along the line. He was commended for his achievements over the years, his career of meritorious service to the nation, and his exemplary personal life as a dedicated family man and sports enthusiast.

Also honoured at the occasion were Prof Bolaji Owasanoye, Kabiyesi (Dr) Bayo Windapo, Senator Soji Akanbi, and Prof Segun Odunola - all alumni of Lagelu Grammar School (1979 set). 

"I'm happy that my set produced many outstanding individuals," Mr Adegoke said, in his modest, affable, suave manner. "It's been an auspicious occasion"

POISON IVY. By Peter Cheyney

Carlotta!! What a "dame"! In many ways she is the true hero, heroine of this work. Another fascinating lady we have come to expect from the adventures of Lemmy Caution; Lemmy at work and play! 

Lemmy of course basks in consummate fashion in the company of such intriguing women. The sleuth is as tough as nails himself, but even so this time around, the type of ruthless degenerates and cutthroats he has to deal with boggles the mind. Lemmy negotiates the dark contours painstakingly, grins and jests in abundance. 

And is it a tough assignation! He even finds himself at sea (literarily) with a merry mob of unconscionable gangsters only too happy to slit the throat of the shining light of the FBI... And through it all, the enigmatic Carlotta slithers and tantalizes, a veritable "tough Mama". 

Lemmy has his usual breaks, not least whilst in the ship where the crooks want to dump him in and out of the cavernous waters (seal act) But they decide that, for some time anyway, he can help them with "wireless messages" on board. Which indicates how old this work - and the reviewer - is. 

Carlotta remains tough till the very end, when she flatly declares to Lemmy that she ain't the type of woman who faints... And then promptly faints on cue! An engrossing story which many modern readers might find old-fashioned - and zany!

-         - “Eric”

PARO Dreams of Passion. By Namita Gokhale

Okay, another confession by me - I am just a mere male impressed by feminine pulchritude (that means beauty, for those who claim they loathe 'big words').The first time I read this book many years ago I was very much impressed with the hardcover copy, especially the photo of the then young lovely author at the back. And the blurb praised the book and the attractive Indian author to high heavens. I just had to read the book! I soon realised that the author wrote very well, sarcastically and jauntily to boot. Well the book was stated to be a satire of sorts. But as I read on I felt in the mould of the west African that I was (am!) that this was a very "cheeky" woman indeed - well, the narrator at least! What else can one call a woman who mocks others especially her husband, referring to his stinking breath, and even his flatulence when he is making love to her (but back to the hubbie a bit later on). The narrator, patently well read, even mocks classical literature (eg 'And dear reader I married him')....It is interesting that this work portrays middle class, privileged life a few decades ago - yet such is the world we live in right now, that it appears odd that there were no smartphones then, never mind the tantalising world of social media that enthralls our existence now. There is a lot of melodrama, not only on the part of the 'celebrated' Paro - even her demise is quite melodramatic- but the same is ubiquitous. Strange how all this could unfold in a society quite sedate and serene. Yes, I certainly felt a lot of sympathy for Priya's husband, Suresh. He is entitled to expect more from his wife; after all, he liked, admired, loved her...otherwise why else would he marry her, take care of her, work hard, make sacrifices etc? But our narrator hardly even likes him and keeps on making fun of him in her write-ups or diaries, whilst admiring the shameless, wily Paro. And Priya even admits to her husband, who is shocked at the contents of her writings, that he means little to her. One can imagine the pain and agony the poor lawyer would endure, which is of course glossed over. The winner takes it all?

- Eric Bolaji

AFRICAN WRITERS TALKING. Edited by Dennis Duerden

A Timeless Classic!

This is a remarkable work, one that should be treasured by sundry scholars, readers, aficionados of African Literature; indeed it is a treasure trove that new generations should latch onto - and devour with exhilaration! 

Yes, one can not get over how young the outstanding African writers were when these interviews were done/when the book came out. Even the likes of Es'kia Mphahlele and Cyprian Ekwensi - then ‘senior citizens' re African literature were just in their 40s or early 50s. The likes of Soyinka, J.P Clark, and Chris Okigbo were around 30 or even younger. Ama Ata Aidoo was just in her early 20s - and already an established African writer! 

Incidentally, two early female icons of Ghanaian literature are interviewed in this work: Aidoo, and the remarkable Efua T Sutherland. The latter's interview shows how venerated and knowledgeable she was at the time; she has kind words for all writers, old and young, including actors who are under her own wing. She comes across as a very charming, selfless lady indeed. And modest to boot. On her own part, Aidoo is confident and competent too, already on the path of literary greatness. 

The great Achebe, then still relatively very young, was already a world renowned African novelist at the time. He explains e.g that by the time he was a kid, he could still see glimpses of how pre-colonial Africa looked like; not the whole picture, but the literary genius would complete the canvas himself in his works like Things fall apart, and Arrow of God.

Cyprian Ekwensi, another born writer, points out that he loved getting his works done with great speed, he wrote his fine works within days or a few weeks! Interestingly, this is echoed by J.P Clark too who in his own interview revealed that he wrote his classic drama, Ozidi, within a week. And how many people know that Clark used to be a journalist too many decades ago? He explains his affection for creative writing, journalism, poetry and of course drama.

Wole Soyinka, at that early stage of his magnificent career, stresses the importance of literary criticism, and how he firmly believes that there would always be people who would appreciate his drama. He also praises Dapo Adelugba, at the time already a young theatre genius, as an adaptable, "versatile actor".

Okot p’Bitek from east Africa in his interview is suave and modest, despite his strong commitment to African mores and values already evident in his trenchant poetry. Richard Rive from South Africa is polished and an academic to boot. He praises some early African literary pearls like Soyinka, J.P Clark, and his fellow South African, Es'kia Mphahlele.

Mphahlele himself in his interviews displays his world class nous, and points out how difficult Eurocentric writings can be for African students too. Of course he, and the one and only Ngugi stress the importance of studying African writers and books in their own right.

Ngugi ‘confesses’ that his first book was not really the famed Weep not child... Ngugi, like Aidoo reveals his fondness for Peter Abrahams the South African ‘coloured’ writer whose early books actually came out before Achebe, or even Ekwensi published their own books. This is an excellent, priceless early work on African literature!

OTHELLO. By William Shakespeare

I did not like this work when I was young; I used to ponder over how unfair it was that the 'gorgeous' white lady, Desdemona would be killed despite completely being blameless; and additionally as an African myself it riled me that a black man "the Moor" would rise to such an important position in Europe - hundreds of years ago! - and lose it all, after the horrific 'slaying' of Desdemona his wife! It was a case of palpable unfairness to me. 

As the years rolled by I could hardly bear to read the play in the original again. Yet over the years, two things always stuck in my mind, re this superb play. Firstly it reminded me of an African proverb, "Eyinkule l'ota wa, ile ni aseni n'gbe" i.e "The enemy lurks somewhat in the backyard, but the arrant betrayer resides right inside one's house". Yes, that is "the honest Iago" in the context of this drama! 

Secondly I found Agatha Christie 's CURTAIN - the last Hercule Poirot mystery- so brilliant. Yet the whole work - the real villain - is based on the character of Iago; in other words, this Christie masterpiece was inspired mainly by Shakespeare's Othello. But of course Curtain is a mystery work, and it is at the end that we realise who the villain is.

In this play, Othello, one winces from the beginning when we realise how dangerous and evil Iago is, despite Othello trusting him so much. As Iago says to Roderigo ,"The Moor howbeit that I endure him not, Is of a constant, loving noble nature, And I dare think he will prove to Desdemona, A most dear husband..." Hence, Iago knows that Othello, despite being "different" is a rather good man, that he loves his wife dearly; but despite this he proceeds coldly and malevolently to destroy them both!

We know how he goes about this, finally propelling Othello into a jealous, murderous rage! Yet, Othello even as he prepares to kill his charming wife, is still very much in love with her and filled with guilt: "...and mak'st me call what I intend to do A murder, which I thought a sacrifice".

It is a real tragedy. Desdemona dies. Othello kills himself... What Iago has done - it upset me for donkey years - is so heinous. The conclusion of the play thus seems so tame as Lodovico says: "To you lord governor remains the censure of this hellish villain (ie Iago) The time, the place, the torture. O, enforce it!". Hmm...

-         O Bolaji