News
of Chinua Achebe’s passing struck me with a deep sadness; a sense that an era
of Nigerian history is closing and that the guiding lights in the night sky of our
national odyssey are dimming. The imagery is of a boat being set adrift from
its trusty anchors. Achebe was one of those anchors.
Achebe
did not stumble upon his craft by accident. He was initially admitted into the
University of Ibadan on a scholarship to read medicine before electing to study
English Literature, History and Religion instead. His decision cost him the
scholarship but gained him his true vocation. He once declared that his calling
as a novelist was “to help my society regain belief in itself and put away the
complexes of the years of denigration and self-abasement.” Interestingly, the
author most acclaimed as his natural successor, Chimamanda Ngozi Adichie, trod
a similar path, leaving the University of Nigeria, Nsukka after a year and a
half of studying medicine, to pursue her calling in writing. Finding one’s true
place in the world often requires us to sacrifice the certainty of the popular
paths to prestige and worldly wealth.
Christopher Okigbo the poet, Wole Soyinka
the dramatist and Chinua Achebe the novelist constituted the literary trinity
of their generation, all maestros in their chosen domains of artistic
expression. Their travails at the hands of the state typified the perpetual battle
between the realm of power and that of ideas. Okigbo took up arms for Biafra
and was killed during the civil war, a death which deeply wounded Achebe.
Soyinka, who had embarked upon a personal peace mission to the separatist
regime in Biafra in 1967 in a bid to avert the war, was arrested by the Gowon
regime and spent most of the war period in jail. In later years, he would flee
into exile to escape the death squads of the Abacha junta. Achebe narrowly
escaped assassination in the 1960s by forces who believed that his novel A Man of the People, which predicted the
overthrow of the First Republic, indicated his complicity in treasonable
activities. He was a Biafran functionary during the war. In 1990, a car
accident in Lagos left him paralyzed from the waist down. Subsequently, he
relocated to the United States where he held a teaching appointment until his
passing last week.
Oddly
enough, my first encounter of Achebe was not Things Fall Apart, the iconic novel and his best known work which
earned him international repute and has been translated into dozens of
languages. It was The Trouble with
Nigeria, a stirring 1983 polemic brimming with righteous indignation at
what his country had become. It was a searing indictment of his generation and
his forebears and, as a work of social criticism, is startlingly relevant to
our current struggles even though it was written thirty years ago. “We have lost
the twentieth century,” he fumed; “Are we bent on seeing that our children also
lose the twenty-first?” Soyinka would echo Achebe’s words in a 1984 essay in
which he famously described his generation as a “wasted generation.”
I
watched Things Fall Apart at about
the same time that I read the book. The 1986 TV series produced by Godwin Ugwu
and directed by David Orere is still one of the best Nigerian gifts to the
small and big screen. It starred Pete Edochie as the tempestuous Okonkwo and
Justus Esiri as his best friend, the sober and sagely Obierika. It is perhaps another
portent of an ending era that Esiri passed away almost exactly a month before
Achebe.
Achebe’s
true gift was prophetic; an ability to tap into currents in the nation’s soul
and scrawl her agonies in compelling stories and commentaries. It is a mark of
how acute his powers of observation and identification as a writer were that
his works possessed a predictive quality about them. Things Fall Apart portrayed the fateful clash of civilizations between
a pristine Africa and the West in Okonkwo’s ultimately futile struggle against
the Her Majesty’s imperial juggernaut. His subsequent works followed the arc of
our colonial and post-colonial traumas. A
Man of the People which depicted the greed and power-drunkenness of the
post-colonial political class prophesied and coincided with Nigeria’s first
military coup d’etat.
In
The Trouble with Nigeria, Achebe
declared “Corruption in Nigeria has passed the alarming and entered the fatal
stage; and Nigeria will die if we keep pretending that she is only slightly
indisposed.” Within months of the book’s release, the Second Republic had been
overthrown by the military. Buhari’s incarceration of Second Republic
politicians drew qualified praise from Chinua Achebe who saw it as “a new
element in the political culture. Things can never be the same again.” Even so,
he expressed misgivings about “the arbitrary and extreme way Buhari handled the
matter.” Two hundred-year jail terms were absurd “but the idea that somebody
could go from state house to Kirikiri Maximum Security Prison is extremely
important. And it is an idea that ought to live in the consciousness of our
people whether they are going to be leaders or the led.”
Anthills of the
Savannah showed up the venality of Africa’s big men and
the phoniness of their messianic claims. Released in 1987, Achebe told us that
we had erred in placing our faith in military dictators. He was proved right by
Ibrahim Babangida’s convoluted and ultimately fruitless transition programme
and his successor Sani Abacha’s bestial tyranny. Achebe’s response to the
return to civil rule in 1999 was a cautious optimism borne of a life time of
bearing witness to serial abortions of promise and the chronic perfidies of
political elites. His caution was vindicated. He rejected offers of national awards
by Presidents Olusegun Obasanjo in 2004 and Goodluck Jonathan in 2011.
In
the first instance, he was protesting against Obasanjo’s anti-democratic habits
and his state-sponsored assault on the government of Achebe’s home state, Anambra.
In the second, he said that the circumstances that had informed his first rejection seven years earlier had not changed. In both cases, Achebe refused to negotiate
compromises with his values and stayed true to his ideal of the writer as social
conscience. Clad in the armour of his graceful candour and intellectual
honesty, Achebe was invulnerable to the barbs of government hacks.
His
last work, There was a Country, a
civil war memoir released last year, is often described as his most controversial
book. In it, he accused the Nigerian state of genocide against the Igbos during
the civil war. He had harsh words for Obafemi Awolowo whom he deemed an
Igbophobe and spoke vaguely of an Islamo-jihadist conspiracy against Biafra. In
fact, Achebe had made essentially the same comments about Awolowo in The Trouble with Nigeria in which he
also issued lacerating criticisms of Nnamdi Azikiwe. Laced with his personal
experience of the civil war, and the threats to his life and that of his young
family, There was a Country is
understandably charged with emotion but also with Achebe’s customary
penetrative intelligence. The vitriolic reaction to the book in some quarters,
including from some who freely admitted that they had not even read it, said
less about Achebe than it did about the anemic condition of public discourse in
Nigeria, especially the triumph of ad hominem illogicality over reason and
civility.
While
I disagreed with some of his conclusions, I recognized that the work was a
personal testament crafted to memorialize his own experiences rather than an
attempt to fashion an objective historical record. Achebe did not seek to write with
the clinical detachment of an impartial scholar but with the raw emotional
depth of a scarred participant-observer. Its personal bias did
not detract from the work but merely emphasized that the post-civil war generation
cannot base its grasp of history on one writer’s recall. For Achebe’s There was a Country, one should read Ken
Saro-Wiwa’s On a Darkling Plain to
see how two writers can interpret the same event differently, and more
importantly, how writers can offer only pieces of the puzzle of our past. The more
pieces we gather, the more informed we are.
Like Achebe and Okigbo, Saro-Wiwa had
finished from Government College, Umuahia before proceeding to the University
of Ibadan. During the civil war, he had served as the federal administrator of
Bonny in the belief that his Ogoni homeland would not be served by being a part
of Biafra. In later years, he became an advocate of autonomy for minority
ethnic groups and a critic of military rule even and was executed by the Abacha
regime in 1995.
It
is worth noting that figures like Raph Uwechue, Nnamdi Azikiwe, Ukpabi Asika
and MCK Ajuluchukwu issued very different views on the civil war that did not
levy blame on Awolowo or alleged jihadists but considerably on the Biafran
leadership itself. To assume that Achebe’s book is some kind of definitive bible
of the civil war is to misrepresent both the work and his motive for writing
what is a personal perspective on a harrowing period.
Regardless,
Achebe’s overarching theme in his last work was a heartfelt frustration with
Nigeria that was itself deeply Nigerian. His charge of genocide against the
Gowon regime called attention to the inhumanity of the post-colonial state and
to our own tendency to amnesia. “Nigerians laugh at tragedy,” he once said by
way of rebuke. At a time when we have become desensitized to violence and shrug
off mass slaughter wrought by terrorists as a tragic normalcy, Achebe called
attention to the slow hemorrhaging of our humanity. He was calling us to
empathy. His urgent prescription – that Nigeria abandon the doomed infatuation
with mediocrity that holds her in bondage and enthrone a meritocracy especially
in her leadership selection – is undeniably our country’s path to salvation.
Achebe
followed his activist instincts into Second Republic politics where he joined
Mallam Aminu Kano’s People’s Redemption Party along with Arthur Nwankwo, Uche
Chukwumerije (like Achebe, former Biafran functionaries), Soyinka and other
intellectuals. The choice of teaming up with a Northerner who had served on
Gowon’s war cabinet during the civil war was all the more significant at the
time because most Igbo elites were in the ruling National Party of Nigeria
(which the Biafran war leader Emeka Odumegwu-Ojukwu returned from exile to
join) or the Nigerian Peoples’ Party led by Nnamdi Azikiwe. Achebe penned a moving tribute to Aminu Kano, “a
saint and a revolutionary” whom he admired for his complete identification “through
struggle with the fate of the downtrodden…. Nigeria cannot be the same again
because Aminu Kano lived here,” he wrote.
It
is part of the pathology of our public discourse that different groups seek to
appropriate national icons and induct them into ethnically-exclusive pantheons.
Through this vain and narrow-minded sense of ownership, we shrink national
heroes into the parameters framed by our prejudices. Achebe’s legacy defies
such efforts. He was unabashedly Igbo but his interests were broadly humanist,
African and undisputedly Nigerian. As he put it, “Nigeria is where God in his
infinite wisdom chose to plant me.” He retained a thoroughly tested faith in
Nigerian exceptionalism; a fervent belief that the country has been marked out by
providence for leadership and was being subverted by mediocre leaders.
For
those who have surrendered to millennial despondency and fatalism about Nigeria’s
prospects and see an apocalyptic revolution as the only way out, Achebe offered
perhaps his most important message in Anthills
of the Savannah: “The
sweeping, majestic visions of people rising victorious like a tidal wave
against their oppressors and transforming their world with theories and slogans
of a new heaven and a new earth of brotherhood, justice and freedom are at best
grand illusions. The rising, conquering tide, yes; but the millennium
afterwards, no! New oppressors will have been readying themselves secretly in
the undertow long before the tidal wave got really going. Experience and
intelligence warn us that man’s progress in freedom will be piecemeal, slow and
undramatic. Revolution may be necessary for taking a society out of an
intractable stretch of quagmire but it does not confer freedom, and may indeed
hinder it.”
In
other words, there will be no miracle cures or quick fixes; only generations expanding
the frontiers of our collective possibilities slowly and agonizingly, inch by
tortuous inch, confronting charlatans and power-mongers with the weapons of
truth and imagination. Creative writers matter in this regard because, as the Zikist
politician Adegoke Adelabu once wrote, “Truth stands no chance of receiving an
audience unless it is clothed in fashion, adumbrated in novelty, adorned in
sensationalism and enthroned on the pedestal of originality.” Or as an Achebean
character tells us, “Storytellers
are a threat. They threaten all champions of control; they frighten all
usurpers of the right-to-freedom of the human spirit.”
The
luminaries of generations past are leaving us in droves – Cyprian Ekwensi,
Stanley Macebuh, Claude Ake, Bala Usman, Gani Fawehinmi, etc. Soyinka and his
surviving peers are lions in winter but the grizzled Nobel laureate still steadfastly
registers his presence at the barricades when it is needed. At a time when the
avatars of mediocrity appear to have permanently installed themselves in the
sanctums of power while subverting the possibility of collective action with
sectarian rhetoric, the duty of speaking truth to power and reaffirming our
shared humanity has never been greater. We must engage in what Achebe called “the
patriotic action of proselytizing for decent and civilized political values.” Achebe
left us a great literary and moral inheritance. We can only begin to repay the
debt we owe him to future generations by inaugurating our own chapter of the
struggle that he so valiantly engaged in.
All images sourced online.
All images sourced online.