The Words Finesse

Book cover of e-copy on Amazon

Book:  Reconnecting with my Past
Author:  Usman Oladipo Akanbi
Reviewer: Mahfouz A. Adedimeji
Publisher: Rextun Books
Year of Publication: 2020
Pages: 136 

Background
Recently, a retired professor of Linguistics at the Massachusetts Institute of Technology (MIT), USA, who was voted as world’s topmost public intellectual alive, Noam Chomsky, described what it means to be truly educated as a response to a question. According to the world’s “most important intellectual alive today”, as Chomsky was further characterised by the New York Times, being truly educated means “knowing, understanding many things but also, much more important than what you have stored in your mind, to know where to look, how to look, how to question, how to challenge, how to proceed independently, how to deal with the challenges that the world presents to you and that you develop in the course of your self-education and inquiry and investigations, in cooperation and solidarity with others.”
The quest to find one’s voice and feet in a world populated by 7.8 billion people is a daunting task and immense struggle demanding balanced education that transcends schooling. The consciousness of this need, the determination to pursue it and the purposefulness to apply it are the hallmarks of success in our world where things are not actually the way they seem until a deliberate effort is made to seek, to yearn and to know. What I call balanced education is the functional combination of traditional, Islamic and Western education, which Prof. Ali Mazrui had famously described as African’s triple heritage regarding traditional culture, Islamic culture and Western culture all  (Adedimeji, 2020).
Usman Akanbi’s Reconnecting with my Past is evident of the desideratum of  balanced education in the making of a Total Man, who the author is, a conclusion that would be easy to reach by every keen reader of his book. The success of this book is foregrounded by the author’s capacity to deal with the challenges of life based on his robust, true, functional and balanced education which undoubtedly is the need of this age.    

Autobiography Plus
Usman Akanbi’s latest book is an autobiography for the simple reason that a palace is basically a house. But in all fairness, a palace is more than a house; so, this thrilling narrative is an ‘autobiography plus’, not a conventional one. This is because an encounter with Reconnecting with my Past is not just a voyage into the life of the author, it is also an excursion into the culture and ethnography of Ilorin, the history and politics of Nigeria and a reflection on the state of the world. 
More specifically, the book offers a dispassionate commentary on the state of the Nigerian nation, a critical appraisal of student unionism and a reconnection with a rather tumultuous journey through life, with an inimitable gift for recalling names and details. The saying that without knowing where you are coming from, you cannot know where you are going finds resonance in the authorial leitmotif. 
As a matter of fact, for those who see the author from a distance without reconnecting with his past, it would be tempting to assume, given his unassuming mien and genteel visage, that that he is one gentle person without realising that here is a dogged fighter, an independent thinker, a resilient radical and a committed activist who is impassioned by the desire to make his society better. Besides, it would be clear that he has been somehow influenced by his no-nonsense father and national icon, the late Honourable Justice Mustapha Akanbi, who once dismissed a snitch that being a unionist is not bad or despicable.  “Babakibaba lo nbi ọmọkọmọ (bad fathers give birth to bad boys) I was also a unionist, it all depends on the cause” (p.39).

Organisation
Structurally, the book is divided into seven parts with such appurtenances as references and index that readily give out the author as an academic. The first part is “In the Beginning” where the author provides the cultural context of the book as the author unfolds his appreciation of Ilorin and aspects of its traditions, from marriage to Islamic education system, from Ramadan season to Eid festival, from naming ceremony to other cultural nuances. This background feeds his “Education and Training”, the subject of Part II, where his primary, secondary and university education is presented including his views and impressions about people and places he traversed, from Kano and Ilorin to Port-Harcourt. His interesting and turbulent student life as a foremost student leader is provided with telegraphic details though the central theme is on his education.

In Part III, “Student Unionism and Youth Activism”, the author undertakes an appraisal view of student unionism in Nigeria and how the students of today appear to have derailed in riveting penmanship. According to him, “the salacious movie scenes, musical acts and realities (sic) shows on the audio-virtual mediums are great motivations to the lewdness that has permeated major campuses of Nigeria society (sic). Just like the now banned cigarettes and alcohol advertisements, these motivators have had the great influences on the average youths – their dress senses, hair styles, manner of speaking and tastes in general” (p.45).
Though many Nigerians are wont to blame only the government for all our national woes, it is perceptive that the author holds everyone, including parents, elders, teachers and the society at large, to account for what has become of the country, In his words, “Hushpuppi and his likes are a reflection of the failure of government to effectively harness the youth potentials, failure of those in government to show the desired direction/leadership, failure of those in government, in all strata, to lead by veritable examples, failure of our education system…failure of a society that now glorifies those with ill-gotten wealth, failure of a society that has lost the true meaning of what patriotism to one’s country really means, failure of elders in upholding those noble and decent ideals that helped built (sic) great nations around the world – on and on goes the list of our failures” (p.46-47).
In Part IV or “Career Trail”, we are taken on a journey through the travails and victories of the corps member teacher at Government College Ibadan (GCI), debonair banker at the First Bank, civil servant at the National Maritime Authority (now Nigerian Maritime Administration and Safety Agency), administrator of a World Bank-assisted Fadama Development project, family man and academic, with scintillating insights and thought-provoking prognoses. The same theme, more or less, runs through Part V, which the author calls “My Other Sways and Fraternities”, where he discusses his dalliances with party politics, his engagement with creative  writing that culminated in a number of works and becoming Chairman of the Association of Nigerian Authors, Kwara State Chapter. He also sheds light on family, friends and foes alike in a manner that shows him to be sensitive. Quite impressively, in giving all these accounts, the author is brutally honest and self-critical. 
In Part VI or “My Travelogues”, Usman Akanbi expectedly takes us on a cruise to Ghana, Kenya, Benin Republic and Ethiopia while providing some highlights of his pilgrimage to Saudi Arabia and a professional workshop he attended in The Netherlands. His experiences no doubt have further shaped his personality and reinforced his keen perception of Nigeria. “One remarkable thing I noticed among nationals of the countries I visited is the spirit of loyalty and patriotism for their country; unfortunately, Nigerians are largely conditioned by their ethnic and religious sentiments and what’s more, unrestricted greed, avarice and personal aggrandizement, all at the expense of building a great country,” he notes (p.92). Any Nigerian who knows Nigeria would find it extremely difficult to disagree with him.
In the last part of the book, which he calls “Random Thoughts and Commentaries Crystallized”, the political history of Nigeria is briefly interrogated while taking a panoramic overview of his understanding of global events and developments, especially the recurrent racism in Trump’s America. As an economist, an appraisal of the Nigerian economy is also undertaken; as a lecturer, he takes ASUU and Government to task on the perennial strikes; and as an analyst, he draws some vital lessons out of the corrosive coronavirus pandemic.  

Appraisal
Francis Bacon once noted that some books are to be read only in parts, others to be read, but not curiously; and some few to be read wholly, and with diligence and attention. I am convinced that Usman Akanbi’s Connecting with my Past also belongs to the last category especially on the strength on its wide-ranging and far-reaching thematic concerns and its crisp and eloquent style. Deeply engaging and downright unputdownable, the author’s fluid language and impressive narrative technique make the book taste like honey. One agrees fully with the Moshood Shehu-Atagisoro in his fantastic foreword that the beauty of the book lies in “how the author has woven a personal odyssey, spanning space and time, into a rich and embroidered tapestry of commentary on history, culture, marriage, religion, education, student activism and management of failure and success.” It is a rich and remarkable addition to the growing Nigerian literature of autobiographical sub-genre.
From a critical angle, Connecting with my Past is an excellent book but it is not perfect. The aim of every responsible writer is to attain excellence, not perfection, which is God’s exclusive preserve. The book appears to have been written in a hurry, perhaps to meet a self-imposed deadline, especially with reference to some infelicities bordering on mechanics, some of which are evident in the cited extracts. The tone with which two or so accounts were also presented could also be moderated because blood is thicker than water and having ‘frienemies’ is natural or automatic for anybody who is somebody like him in life.

Conclusion 
Generally, Usman Akanbi’s autobiography plus is a compelling read that takes a reader through a life of struggle with contending forces at home in Ilorin and at other places like Lagos, Port-Harcourt, Kano, Minna and Ibadan where the author schooled or resided at one time or the other. It is a veritable source of inspiration to the youth in particular and the readers in general that the journey of life is not a walk in the park but a sail through the storms and that with a sense of purpose and determination, one can rise above one’s limitations and challenges.
As earlier adumbrated, Connecting with my Past is a sound and resounding testament to the author’s Chomskyan true education. It clearly shows that this is a writer who knows his onions and understands many things, including the scriptures of Islam and Christianity the quotes from which garnish the book, among other quotes, and he also understands where to “proceed independently” and “deal with the challenges that the world” presents before him. The implication is that just as true or balanced education has made him succeed in overcoming obstacles, surmounting challenges, making new beginnings and thriving ultimately in the ongoing journey of life, anyone can also succeed especially if they strive as success is not accidental. 
Based on its vast merits as a confluence of rich ideas and crucial information about diverse areas of life in a world that is constantly evolving, Connecting with my Past is definitely a book that is worth reading again and again. It is of historical relevance, social importance, political significance, cultural value just as it is good for personal development. It transcends the confines of a mere personal story as it has potential to change the perspective of viewing and adjusting to life generally. The youth especially will find the pearls in it useful in ornamenting their life through appreciating that true or balanced education is the summun bonum of life. I commend the author and recommend the book to all, the young and the young at heart particularly. 

- Adedimeji, M. A. (2020). Fostering Functional Education System for Peaceful Co- existence in Nigeria: Islamic and Western Perspectives. In Jimba, M. M., M. A.  Adedimeji, M. A. Lawal and M. S. Abdullahi (2020) (eds.) Language and  Religion for  National Development: A Festschrift for Prof. A. G. A. S. Oladosu. pp.  127 – 137.  Ilorin: Department of Arts Education, University of Ilorin.

© Mahfouz A. Adedimeji is an Associate Professor of Pragmatics and Applied English Linguistics, of the Department of English, in the University of Ilorin, Ilorin, Nigeria. 

The Association of Nigerian Authors (ANA) along with Alex Ekwueme Federal University Ndufu-Alike, Ikwo (AE-FUNAI), Ebonyi State, recently held second annual Nigerian Literature International Conference and Workshop at the University's Auditorium.

Denja Abdullahi is the President of the Association of Nigerian Authors  (ANA), an award winning poet, playwright, literary essayist and cultural technocrat. In this interview with ABDULHAFEEZ T. OYEWOLE, he speaks on the state of ANA land as well as his position on the comparison of the writers' body with the trendy Arts and Book Festivals in the country.

Gabriel Okara, one of Nigeria’s foremost poets and novelists, has died one month to his 98th birthday.

According to a family member who pleaded anonymity, Okara died at the Federal Medical Centre, Yenagoa, capital of Bayelsa state, on Sunday evening.

The Nigerian poet and novelist whose verse had been translated into several languages by the early 1960s, the source stressed was relaxing at his Yenagoa residence when he slumped around 4pm.

He added that the head of the Okara family has sent a text message out for an emergency meeting, and the family would issue a formal statement afterwards.

Meanwhile, the Association of Nigerian Authors (ANA), Bayelsa State Chapter, in a statement by its chairman, Mrs Bina Ilagha, said the association was saddened by the news of the death.

“The Association is ruffled by the news because it came at a time when preparations are in top gear to celebrate his masterpiece, ‘’The Voice’’ at 55.

“We are saddened by the news but are consoled that he left behind lofty legacies. Pa Okara, through his literary exploits put Bayelsa in the map of literary excellence,” he said.

Seriake Dickson, Governor of the state, has described Okara’s death as a great loss to the state and Nigeria.

In a statement on Monday, Daniel Iworiso-Markson, Commissioner for Information and Orientation, said the Governor has declared a three-day mourning for Okara.

Iworiso-Markson said for the next three days, all flags will fly at half mast.

Similarly, the speech writer to the Governor of Bayelsa, and one time Chairman of ANA, Mr Michael Afenfia, in a statement in Yenagoa expressed sadness about the death.

“It is with great sadness that I received the news of the passing of the renowned poet and novelist, Gabriel Okara. Even in passing, I am sure your poem, “Piano and Drums”, will ‘minister’ to me in many ways.

“Your words are an inspiration! Your concerns about the African culture in the face of Western ‘threat’ as expressed in “Once Upon a Time” are ever before me.

“Thank you for leaving us with so much to remember of your time here with us. Thank you for setting the pace for several generations of writers,” he said.

Reacting to his death, Mr Uzoh Nwamara, the Chairman, Association of Nigerian Author (ANA), Rivers State, told Daily Sun, “It is with great shock that the ANA Rivers family received the news of the passage of our literary icon, Pa Gabriel Imomotimi Okara, today. He was with us at our last Literary Excellence Day held on October 14, 2017, in Port Harcourt as a recipient of our highest literary award that day.

“He was his usual calm and dignified self. I still remember when Chinua Achebe died in 2013, and I interviewed him jointly with our dear father and patron, Dr Elechi Amadi, on Garden City Radio, 89.9 FM. He lived a larger than life image through his works. Meeting him in person was like meeting Elechi Amadi in person. Their unassuming humility and palpable dignity will shock and humble you.

“He was a first class member of the first generation of modern African writers with numerous awards to show for it. This month of March has not been a good one for the Nigerian and African literary community. We have lost too many of our cherished own this month. We pray that the boatman ferries him across the river gently to the pantheon of literary gods for he was a complete literary gentleman.”

For the revolutionary critic, Doc Udenta O. Udenta, “Gabriel Okara’s The Voice is an iconic representation of postcolonial disillusionment. They were disappointed with the post colony, so they took to writing to protest. The novel is unique for its linguistic experimental, almost a direct transliteration of his native Ijaw language. I, also, remember, with nostalgia, of his poem, ‘Fisherman’s Invocation’ as a student.

“His death is a passage of literary, cultural icon. I am glad that his state government has tried to immortalise him while alive by naming a cultural centre in the state capital, Yenagoa. I hope others will do the same. He will be missed by all.”

Also, Soji Cole, the winner of the 2018 Nigeria Prize for Literature, was saddened by his demise. He said, “Okara’s The Voice remains one of my best early Nigerian novels. I cherish it. May your soul find peaceful repose, great one.”

Muhammadu Buhari, the Nigerian President has equally reacted to the death of the late iconic writer, Pa Okara, through a statement issued by his Special Assistant on Media and Publicity, Femi Adesina, today.

“The President extols the great story-teller whose powerful use of imagery and symbolism in his literary writings helped the world to appreciate and understand the richness, complexities and uniqueness of the African heritage and culture."

Born on April 24, 1921, late Gabriel Imomotimi Gbaingbain Okara is a lifelong Patron of the Association of Nigerian Authors (ANA) and touted as the first modernist poet of anglophone Africa as well as an all-encompassing writer whose thoughts and works appear to be greatly influenced by his immediate environment. 

Born in Bumoundi in Yenagoa, Bayelsa State, he was educated at Government College Umuahia, and later at Yaba Higher College. In 1945, he found work as a printer and bookbinder for colonial Nigeria’s government-owned publishing company, where he remained for nine years, during which he began to write.

At first, he translated poetry from Ijaw into English and wrote scripts for government radio. He studied journalism at Northwestern University in 1949, and before the outbreak of the Nigerian Civil War (1967–70), worked as Information Officer for the Eastern Nigerian Government Service.

Together with late Chinua Achebe, Okara was roving ambassador for Biafra’s cause in 1969. From 1972 to 1980, he was director of the Rivers State Publishing House in Port Harcourt.

His literary talent was spotted in 1953 when his poem, The Call of the River Nun, won an award at the Nigerian Festival of Arts. Some of his poetry was published in the literary magazine Black Orpheus. By 1960, he had won renown as an accomplished literary bard, with his poetry being translated into several languages. Piano and Drums is another popular poem of his featured in several anthologies.

His first novel, The Voice, was published in 1964. Besides his poetry and fiction, Okara has also written plays and features for broadcasting. Sadly, many of his unpublished manuscripts were destroyed during the Nigerian Civil War.

In 2005, his poetry volume, The Redeemer, His Vision, was joint winner of the highest literary prize in Nigeria, NLNG-sponsored the Nigeria Prize for Literature, with Ezenwa Ohaeto. Other awards he won in his lifetime included Commonwealth Poetry Prize, for The Fisherman’s Invocation (1979), and, in 2009, the Pan African Writers’ Association Honorary Membership Award.

The Words Finesse  (TWF) can't conclude this post without presenting you with two of late Pa Gabriel Okara's famous poems. Kindly enjoy as reflective pieces.

Three Nigerian authors, Oyinkan Braithwaite, Emezi Akwaeke and Diana Evans have been nominated for the 2019 Women’s Prize for Fiction.

The Women’s Prize for Fiction, previously known as the Orange Prize for Fiction and the Baileys Women’s Prize For Fiction, is one of the most prestigious literary awards in the world.

The News Agency of Nigeria reports that Braithwaite was nominated for her book ‘My Sister, The Serial Killer’, Emezi for ‘Freshwater’ and Evans for ‘Ordinary People’.

‘My Sister, The Serial Killer’ tells the story of the complex relationship between a glamorous Lagos fashion designer and her responsible older sister, who’s always ready with bleach and rubber gloves to help cover up a crime.

Emezi’s ‘Freshwater’ explores the multiple voices of an Igbo god living within a young woman.

Evans’ ‘Ordinary People’ cleverly exposes the melancholy of suburban middle-class black people using celebrity events. The book opens at a party thrown in honour of Barack Obama’s presidential victory in 2008.

The prestigious prize has honoured many great authors since it was launched in 1996, including Chimamanda Adichie, who won in 2007 for ‘Half of a Yellow Sun’.

NAN reports that the award gives a significant career boost and it comes with a £30,000 ($40,000) prize.

It was created after the Bookers Prize of 1991 where none of the six shortlisted books was by a woman, despite 60 per cent of novels that year being published by female authors.

Chaired by Prof. Kate Williams, the 2019 judging panel includes journalists Dolly Alderton and Arifa Akbar, anti-FGM activist Leyla Hussein.

NAN reports that Sarah Wood OBE, the chair and co-founder of the global video advertising marketplace, Unruly, was also on the panel.