Friday, 7 February 2014

The SAGE… Inspiring man to search for the Universal Truth


By Anote Ajeluorou

Man has always been swayed one way or the other in search of what of the divine light and universal truth should be. But on the path of this search is strewn many thorns that have pierced him deeply to his own ruin. Religion that purports to hold the truth has not helped matters as man has variously interpreted it to fit his own selfish means thus subverting the very truth that ought to set man free from errors. The result is a world mired in chaos, as men set up different standards of behaviour at variance with the divine order.
  How can man be brought back to his senses to see that all religions urge the way to the same ideal: Truth? How can man ensure harmony in a world made chaotic by his own actions or inactions? What is man’s true source of wisdom and how can he acquire it? These are some of the concerns of a new, inspirational book written by Charles Ayodeji Dada, The SAGE: Unto Thee Is Granted (Pyramid Unit Publishers, Lagos; 2013).
  Indeed, Dada’s The SAGE points the way for erring mankind, who has irretrievably gone astray in pursuit of self. Dada avoids the usual path of being preachy, but charts a seemingly poetic means to call man’s attention to that which he desires most but seeks wrongly. Man’s ultimate quest for life after life is self-affirming in his religious zeal to please a Higher Being. But how has man gone about this quest and what harm hasn’t he contracted for himself and his fellow man in the process? How then can man avoid the pitfalls that readily dodge his footsteps in his quest?
  Using the evocative, poetic rendition, Dada approaches his subject by asking for divine inspiration, not unlike the biblical prophets or poetic muse, so he could tell his truth infallibly, ‘To point the way towards The Light’ for his fellow man. And, as he remarks before Book One, ‘Before the beginning was the Truth’, which the poetic persona, the Sage is made to experience the depths of suffering and torment before arriving at the seat of wisdom from which he draws to teach and guide those around him to the Light or divine gardens,
  ‘To write of pain/You will experience pain!.../To write of hunger/You must know hunger!/Deeply, you will experience its ache!/To write of poverty/You will languish within it!’
  The SAGE is couched in most part in devotee/teacher relationship, with the teacher dishing out nuggets of wisdom to the pupils or devotees. And so when a devotee asks, ‘…in what measures should we give of the TRUTH?’ in ‘A Useful Admonition’, The Sage responds, ‘Without compromise! Unsparing, undiluted and pungent!/Naked and plain./In other words-/In its most concentrated form!’
  ‘Footprints’ also paints a vivid picture of how the world now works in relation to religious practices and other customs by men in which the world goes one way because it is hip to do so whereas it is actually on the wrong spiritual path, with the conclusion, ‘…hundreds of years of history have irrefutably proven…/that the majority have always gone stray!’
  No other piece than ‘Of the conflict’ perhaps better illustrates the central theme of The SAGE, where religious conflict, as currently ongoing in most part of the world, is causing schisms among people who ought to live in harmony. But the perceived differences among the world’s religions have pitched neighbor against neighbor so much so that everyone wants to go their separate ways with his followers. But when the people and even their leaders are required to choose between religion and truth, they quickly settle for truth irrespective of their religious affiliations. This prompts the Sage to say to the hypocritical religious leaders, ‘You leaders recognise the Truth as One in time and space, yet decide to confine yourselves to rigid pockets of religion!’
  Also for the author, it’s the inability of man to develop his spiritual self and preferring instead to concentrate on developing the intellect that have caused man the greatest grief; it’s what has distanced man from recognising the Truth. This intellectual development, the author argues, has negatively interfered with man’s spiritual quest, as he sees everything in the prism of intellect, which is usually in direct conflict with the spiritual.
  The Sage laments in response to a question, “It’s the same fruit that man still eats today which separates him from the Light!/...Developing only the intellect whilst ignoring the intuition and the promptings of the spirit!’ Even a professor, stuffed full with intellectualizing, mocks the existence of God!
  Book Two of The SAGE is rendered in more prosaic language than Book One, but continues on the same strain of illuminating the mind of man on the need to seek after divine Truth. In this section also, the author is more direct in urging man to devote himself to godly service, as there is yet a life after this earthly one, where man is required to perfect his ways before he breathes his last. The first piece, ‘Noah’s Ark’ of a young man ringing the bell of the kingdom of God and asking people to repent sums up the urgency of the end times and the need for man to mind his ways so he would be on the same wave-length with his Creator. The Sage sums it up thus, ‘So was Noah considered a lunatic… until the rains came pouring down!’
  A more vivid example is where a man’s earthly sojourn and his actions are played back to him in a video in what the author considers the last judgment in the piece titled ‘The great beyond and the playback’: ‘There were several instances in which many, who had been considered pious by their fellow men on earth, flung themselves unto the screen in a bid to hide their activities from the onlookers.’ He says, ‘There was absolutely no human spirit that had a suitable defence. This was self testifying against self! This in fact was the judgment! The many spirits watched the replay of their lives could intuitively perceive whether or not they were worthy… to enter the luminous gardens!’
  Doubtless, Dada’s The SAGE is a fascinating book to read; it forces the reader to reflect on his own life and examine where he is in relation to big spiritual questions of the day. Although it’s a book that deals in the realm of religion, it’s done with a philosophic touch that looks at the man’s life through a mirror the Sage holds up for him. While not being preachy, Dada makes salient statements about the condition of man, especially these days of religious strife and untruths raging all over the world. It’s only by knowing what the truth is that man can ultimately be set free, as the Nazarene once admonished. Too often, religion has been used as a tool in the hands of ‘intellectualizing’ man to cause woes to his fellow man. But the truth religion has so easily spun, according to the author, will eventually be the healing balm to man.
  The SAGE is an urgent call to man to come to his senses in these times of grave religious intolerance and chaos.

The SAGE… Inspiring man to search for the Universal Truth


By Anote Ajeluorou

Man has always been swayed one way or the other in search of what of the divine light and universal truth should be. But on the path of this search is strewn many thorns that have pierced him deeply to his own ruin. Religion that purports to hold the truth has not helped matters as man has variously interpreted it to fit his own selfish means thus subverting the very truth that ought to set man free from errors. The result is a world mired in chaos, as men set up different standards of behaviour at variance with the divine order.
  How can man be brought back to his senses to see that all religions urge the way to the same ideal: Truth? How can man ensure harmony in a world made chaotic by his own actions or inactions? What is man’s true source of wisdom and how can he acquire it? These are some of the concerns of a new, inspirational book written by Charles Ayodeji Dada, The SAGE: Unto Thee Is Granted (Pyramid Unit Publishers, Lagos; 2013).
  Indeed, Dada’s The SAGE points the way for erring mankind, who has irretrievably gone astray in pursuit of self. Dada avoids the usual path of being preachy, but charts a seemingly poetic means to call man’s attention to that which he desires most but seeks wrongly. Man’s ultimate quest for life after life is self-affirming in his religious zeal to please a Higher Being. But how has man gone about this quest and what harm hasn’t he contracted for himself and his fellow man in the process? How then can man avoid the pitfalls that readily dodge his footsteps in his quest?
  Using the evocative, poetic rendition, Dada approaches his subject by asking for divine inspiration, not unlike the biblical prophets or poetic muse, so he could tell his truth infallibly, ‘To point the way towards The Light’ for his fellow man. And, as he remarks before Book One, ‘Before the beginning was the Truth’, which the poetic persona, the Sage is made to experience the depths of suffering and torment before arriving at the seat of wisdom from which he draws to teach and guide those around him to the Light or divine gardens,
  ‘To write of pain/You will experience pain!.../To write of hunger/You must know hunger!/Deeply, you will experience its ache!/To write of poverty/You will languish within it!’
  The SAGE is couched in most part in devotee/teacher relationship, with the teacher dishing out nuggets of wisdom to the pupils or devotees. And so when a devotee asks, ‘…in what measures should we give of the TRUTH?’ in ‘A Useful Admonition’, The Sage responds, ‘Without compromise! Unsparing, undiluted and pungent!/Naked and plain./In other words-/In its most concentrated form!’
  ‘Footprints’ also paints a vivid picture of how the world now works in relation to religious practices and other customs by men in which the world goes one way because it is hip to do so whereas it is actually on the wrong spiritual path, with the conclusion, ‘…hundreds of years of history have irrefutably proven…/that the majority have always gone stray!’
  No other piece than ‘Of the conflict’ perhaps better illustrates the central theme of The SAGE, where religious conflict, as currently ongoing in most part of the world, is causing schisms among people who ought to live in harmony. But the perceived differences among the world’s religions have pitched neighbor against neighbor so much so that everyone wants to go their separate ways with his followers. But when the people and even their leaders are required to choose between religion and truth, they quickly settle for truth irrespective of their religious affiliations. This prompts the Sage to say to the hypocritical religious leaders, ‘You leaders recognise the Truth as One in time and space, yet decide to confine yourselves to rigid pockets of religion!’
  Also for the author, it’s the inability of man to develop his spiritual self and preferring instead to concentrate on developing the intellect that have caused man the greatest grief; it’s what has distanced man from recognising the Truth. This intellectual development, the author argues, has negatively interfered with man’s spiritual quest, as he sees everything in the prism of intellect, which is usually in direct conflict with the spiritual.
  The Sage laments in response to a question, “It’s the same fruit that man still eats today which separates him from the Light!/...Developing only the intellect whilst ignoring the intuition and the promptings of the spirit!’ Even a professor, stuffed full with intellectualizing, mocks the existence of God!
  Book Two of The SAGE is rendered in more prosaic language than Book One, but continues on the same strain of illuminating the mind of man on the need to seek after divine Truth. In this section also, the author is more direct in urging man to devote himself to godly service, as there is yet a life after this earthly one, where man is required to perfect his ways before he breathes his last. The first piece, ‘Noah’s Ark’ of a young man ringing the bell of the kingdom of God and asking people to repent sums up the urgency of the end times and the need for man to mind his ways so he would be on the same wave-length with his Creator. The Sage sums it up thus, ‘So was Noah considered a lunatic… until the rains came pouring down!’
  A more vivid example is where a man’s earthly sojourn and his actions are played back to him in a video in what the author considers the last judgment in the piece titled ‘The great beyond and the playback’: ‘There were several instances in which many, who had been considered pious by their fellow men on earth, flung themselves unto the screen in a bid to hide their activities from the onlookers.’ He says, ‘There was absolutely no human spirit that had a suitable defence. This was self testifying against self! This in fact was the judgment! The many spirits watched the replay of their lives could intuitively perceive whether or not they were worthy… to enter the luminous gardens!’
  Doubtless, Dada’s The SAGE is a fascinating book to read; it forces the reader to reflect on his own life and examine where he is in relation to big spiritual questions of the day. Although it’s a book that deals in the realm of religion, it’s done with a philosophic touch that looks at the man’s life through a mirror the Sage holds up for him. While not being preachy, Dada makes salient statements about the condition of man, especially these days of religious strife and untruths raging all over the world. It’s only by knowing what the truth is that man can ultimately be set free, as the Nazarene once admonished. Too often, religion has been used as a tool in the hands of ‘intellectualizing’ man to cause woes to his fellow man. But the truth religion has so easily spun, according to the author, will eventually be the healing balm to man.
  The SAGE is an urgent call to man to come to his senses in these times of grave religious intolerance and chaos.

Pocket-friendly short fiction from NS Publishing to boost reading


By Anote Ajeluorou

For those who continuously worry about flagging reading culture in the country and how best to make available to the few interested readers good fiction at affordable cost, solution may have come quicker than expected. With the launch of 14 titles by NS Publishing last Sunday at British Council, Ikoyi, Lagos, short fiction will now be readily available at pocket-friendly sizes and prices to the generality of readers across generations and tastes.
  With the publication of these titles, NS Publishing has opened the year on yet a note of short stories that closed last fictive year, with such titles as Indigo by Molara Wood, Dream Chasers from Nelson Publishers Ltd and Lagos 2060 from Dada Books. It also attests to the growing popularity of short fiction in the country. But now, rather than look for N1000 and above before buying a book, NS Publishing has made it possible to just spend only N200 or N400 per copy and you would be rewarded with fine, thrilling prose.
  Books from NS Publishing are a throwback to the 1980s when MacMillan’s popular paperback series ‘Pacesetters’ hit the stands to nourish the imagination of generations of young and adult readers alike before Ibrahim Babangida’s Structural Adjustment Programme (SAP) made it impossible to continue with the series, which gradually ushered in the bookless society that eventually emerged. However, what Macmillan’s recent series tagged ‘Past & Present’ is a mockery of what the Pacesetter series stood for as fiction for young adults.
  Indeed, NS Publishing boss, Myne Whitman, said the pocket-friendly idea for her outfit actually came from her experience of reading Macmillan’s Pacesetters series. She said she used to save hard for each book back then, even as they also sold for as low as 25k.
  From romance to crime to every conceivable subject pooled together by what may turn out to be a revolutionary publishing style, readers will find something to read and treasure in the slim volumes. They are short stories already published in the popular literary site, Naija Stories, a site conceived by Myne Whitman (real name Nkem Okotcha) some years ago to cater for young writers seeking outlet in the open space of the worldwide web. The avalanche of submissions made shortly after the site opened convinced Whitman that her venture was in the right direction.
  Shortly after also, Whitman called for a short story contest, which also produced its own harvest of stories as a measure of the abundant creative talent in the country. Some of the stories from that contest appear in most of the works.
  After self-publishing her romantic thriller, A Heart to Mend in 2009, which shot to the top bestseller list on Amazon.com, Whitman then began to think of a platform where young writers could hangout and give free expression to their creative talents, and as a community. With just about 10 – 20 members, they started to write and share stories. In 2010 her second novel A Love rekindled came out. But she discovered that selling Nigerian short fiction online was harder than selling her romance novels.
  That was how Naija Stories idea came and it took off with a bang. Some of the titles in NS Publishing include Wiping Halima’s Tears, Best Laid Plans, Seeing Off Kisses, Ekumeku, Rachel Academy Heroes, Lagos Hanky Panky, Icatha: The Soul Eater, A Kind of Bravery, Our Ram Is Haram, Reflection of Sunshine and others.
  Some of the contributors to Naija Stories website and the books presented were also in attendance and they gave colour to the event by reading their own stories giving them the writers’ personal lilt and flavour. Uche Okonkwo, Eloho (‘Halima’s Tears’), Funmi Adediran, Kingsley (‘Best Laid Plans’) all read their stories. But co-founder of online literary magazine, Saraba, Dami Ajayi performed his poetry with flair and panache and garnered the loudest ovation on each occasion as the poems reverberated with raw energy. From ‘Die a little’ to ‘You are my flagellation’, Ajayi pelted the audience with unforgettable, heartfelt rhythms. The poems are from his collection, Daybreak and Other Poems, already in chapbook, an e-book format that can be assessed from sarabamagazine.com.
  Also, NS Publishing’s books are not just pocket-friendly in terms of size and prices, the publishers will from next week bring them to doorsteps of would-be buyers, as a way of bringing books closer to those who need them. She has mapped out a roadshow with music and dancing in a carnival-like manner to truly make books fun to have and read! The books will also be in supermarkets and regular bookstores to also widen their presence. NS Publishing T-Shirts, with alluring invitation to have and read books for fun, also make up the magic Whitman is bringing into the book space.

The Two Sisters… Of love and communal common sense in Clark’s twilight play


By Anote Ajeluorou

Like his colleagues and friends the late Chinua Achebe (There Was A Country: A Personal History of Biafra; 2013) and Wole Soyinka (Alapata Apppata; 2013), JP Clark (the founding father trio of Nigerian literature, with Christopher Okigbo long lost in the Nigerian Civil War that ended in 1970, as fourth member) continues to write even at old age. This was evident last December, when he turned 80, with his two new plays, The Hiss and The Two Sisters, staged at University of Lagos to mark his 80th birthday.
    And so Clark’s biographer, Prof. Femi Osofisan’s The Okinba Players staged Clark’s two plays, aptly tagged ‘JP Clark: Two Twilight Plays’, with Osofisan directing and Dr. Tunde Awosanmi assisting him. The Two Sisters focus on how the goings-on in the smallest unit of society, the home, has far-reaching implications for the larger community.
  Far from being tired or retired, Clark, Soyinka and Achebe (until the latter’s death last year) continue to write. But while Soyinka has continued with the usual overt political engagement for which he has remained most vocal in his recent play (Alapata Apata), Clark’s a bit inward-looking, although the play The Two Sisters has the survival of a community as its concern, a community with orderliness somewhat disrupted by the wilful act or non-act of a foreign wife to one of its men. Achebe, of course, stirred the soul of a slumbering nation to wakefulness with his valedictory book, There Was A Country.
  At the height of the pathos in this play is sexual behaviour and how it could turn the tide for the worse at both personal and communal levels. Clark is concerned that even in marriage setting, sex is such a potent tool, and that when wrongly wielded it could cause serious damage both to the home and the entire community. When withheld from the other partner, as Clark shows in The Two Sisters, sex could serve a disastrous end and that wives especially should beware how they use it to thwart a man’s will.
  The play is rendered in the classic tradition of narrator(s) addressing the audience as part and parcel of the play in situating the incidents and characters in specific time and space, just as the actors merge with the audience to give it a familiar feeling and thereby sucking the audience into the intricate web of the plot.
  Two sisters, Ebikedobamo (Adebisi Adeleke) and Brakare (Bimbo Benson), both married, have the souls of identical twin sisters with their hearts beating almost in unison, as they intuitively know what each other is going through even as far apart as they live. And so in a language replete with sexual innuendos, Clark traces first the lives of Ebikedobamo and her husband Omobo (Victor Onuka) in bed on a night when Omobo seems most libidinous and does not seem to be having enough of his wife, who is nursing their son, Akara. Ebikedobamo is further distracted by a premonition about her sister Brakare, whom she intuitively feels all is not well with in a faraway town where she is married.
  Omobo is all frustration, as her wife’s concern for her sister compounds his sexual longing; she insists on travelling by canoe as is usual with riverine people to see her sister if only to assure herself that she is all right. This means Omobo would have to deal with his sexual hunger in the face of an absentee wife for as long it took her to visit her sister and return. Cornered as he is, he grudgingly lets her go:

  (In a bedroom at Azagbene in the Niger Delta some centuries back, husband and wife are in bed)
  Omobo: Where are you, Ebikedobamo?
  Ebikedobamo: Right by your side, father of Araka, my son. Why do you ask?
  Omobo: I somehow feel you are somewhere else, far away, and not here now with me.
  Ebikedobamo: Nonsense. Here, feel me all over. I’m lying right here besides you, and you know that. My dear husband, always wanting to be reassured like a baby.
  Omobo: Are you really sure you are here by my side, Ebi? I felt a deep sense of descent as you slipped away from under me.
  Ebikedobamo: Why, my husband, why do you say such a thing? You know it cannot always be the same every time. There are high tides, and there are low ones.
  Omobo: I missed that coming cry of yours, more like a song, calling for your man and the Almighty, in alternation, as if you are taking one for the other who, at the same time, you are crying to for help as we come together only to go again…

  Meanwhile, a drama all its own is playing out with Brakare and her husband Kunbowei (Stephen Taiwo Joseph). Brakare is a strong-willed woman who loves to dictate how much of her wifely duty she performs for her husband. She is not one for the taking at the will of a husband, whenever he wants her. She believes sex should be mutual even in marriage, and the woman’s consent or mood is key in being part of the sexual encounter, a notion that is at variance with what Kunbowei, man of the house, knows is true of traditional duty of the wife. Tradition requires that a man should always have his way with his wife or wives except when they are heavy or during early days of nursing or during her monthly flow.
  For a man to be denied sex by his wife on grounds of not being in the mood or some such frivolous reason is scandalous for the typical Africana man like Kunbowei in Clark’s play, especially when the man carries a turgid, bursting phallus as Kunbowei does on this fateful night and ready to empty it into his wife’s receptacle! But this is not Kunbowei’s night of enchanted magic, as his pestle is being wilfully denied its right to pound at its own mortar. Not even the strong-willed could endure such effrontery from the wife he married with his own money. So, Kunbowei goes away a pathetic man and does the unthinkable – hangs himself! But is it to spite his wife, just as there’s a suggestion that Kunbowei has other wives to whom he could easily have taken his quivering desire?
  This is the point in which Ebikedobamo arrives to meet her sister Brakare grieving over the death of her husband. This enrages the clan and even the gods, and anger is directed at Brakare for ‘killing’ her husband with her strange act of denial. On the face of it, it pitches two communities against each other: Brakare’s community must find appropriate appeasement otherwise the drums of war would sound from Kunbowei’s and heads would roll to assuage a wife’s wilful act of ‘murder’. Brakare oscillates between grief and defiance over accusations of murder; she would not be intimidated even if her act or non-act would bring two communities into deadly collision. She insists her denial should not have led her husband to commit suicide.
  Eventually, the community pronounces a verdict of not guilty on her! She is free to marry into Kunbowei’s family or else leave in peace to her town.
  Clark’s The Two Sisters is both a study in uncommon filial relation between two sisters, who instead of being in bitter rivalry that could lead to tragic consequences, are in fact soul mates who rally each other in times of distress, with the death of Kunbowei serving to bring them even stronger together. On the other hand, although Clark condemns Kunbowei’s suicide, he nonetheless cautions on the inflaming nature of sex in marriage. However, why Clark, at the twilight of his life and career as writer, should engage in such volatile subject as sex and its ruination nature is hard to conjecture, but suffice it to say that he has presented one of man’s most intriguing aspects of man and we must take him seriously.
  Also, the sensible manner in which Kunbowei’s community handles the matter of his suicide to avert bringing a war to its doorsteps is also instructive. Again, readers and those fortunate to see The Two Sisters on stage were treated to the ‘riverine lore’ to which Clark is besoughted; it’s what has formed his poetic and dramatic ouevre in over 50 years of lush creative engagement. It’s a testament of a master once again at his very best dramatic performance, a reward to his teeming fans as well as his acolytes wherever they may be.