Among other engaging sessions at the 2019 edition of the Ake Arts and Book Festival held in Lagos, younger writers share their intimacy with China Achebe’s classical novel, ‘Things Fall Apart’, AKEEM LASISI writes
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Although ‘Things Fall Apart’ has for long excited award-winning writer, Helon Habila, he, at the beginning of his career, vowed not to adopt the model that legendary Chinua Achebe used in the book. To start capturing some elders at village meetings, blowing Igbo proverbs like some semi-gods? No, Habila did not want such. Not long after he made that decision, however, he found out that the model was almost part of his literary shadow from which he could not completely run away. At least, he must dialogue with the novel in his subsequent works.
Habila had the opportunity to share the secret in Lagos about a week ago when he spoke during a session that reviewed the 60 years of ‘Things’ Fall Apart’, at the Ake Arts and Book Festival founded by writer and teacher, Lola Shoneyin. The festival attended by many creative minds from different parts of Africa, with Sterlin Bank as the major sponsor, gave Habila and other discussants – Chika Unigwe and Nnamdi Ehirim – another opportunity to establish the classical status of the novel. The session was moderated by arts enthusiast, Wale Lawal, with the theme of the festival being ‘Black Bodies: Grey Matter’.
Habila recalled that, being a science student, he did not have the opportunity to study ‘Things Fall Apart’ in secondary school. But when he eventually had the opportunity to read it, he did not miss the classical status it represents.
The programme, indeed, gave Habila an opportunity to reveal a role Achebe played in his evolution as a writer and scholar abroad. The former journalist with ‘The Vanguard’ noted that shortly after he published his first award-winning novel, he received a phone call that surprisingly happened to be Achebe’s. The revered writer had informed him that he would be the first Achebe Fellow, an offer that he (Habila) could not resist.
“Achebe is the reason I’m working in America today. On getting to the US based on his invitation, I hanged out with him. He was a great man with a great soul,” Habila said.
According to him, it is very rare to find a book that defines a whole generation – as ‘Things Fall’ apart does.
“The book came at a time we had Pan Africanism and nationalism. Then it became an anthem. It is very hard to find a book that practicalises the politics of that time. ‘Things Fall Apart’ also solves the question of what language to use to write. Achebe did that. What we have in the publication: is it African English? Is it Igbo English? Achebe demonstrated how you can manage the two traditions in a way that shows they need not be in conflict. They can co-exist,” he said.
But Habila stressed he did not want to adopt the Achebe model as a writer, though yet confessed he could not escape it totally.
He added, “I didn’t want to write a book set in a village with people talking in proverbs. I wanted a non-linear model. But when I was writing my second book, I had to go back to the Achebe model because you cannot escape it. I then chose to be in dialogue with it.”
Ehirim also recalled that he read the book through friends when he was in secondary school. But, according to him, he initially didn’t see how it was incredibly different from works of the likes of Emecheta and, say, Elechi Amadi.
“Then I read other things around it,” he added. “That was when it began to unfold better. One thing we should bear in mind is that Achebe, Soyinka, Okigbo etc. are products of a generation’s thinking, not an individual opinion. My generation are not necessarily trying to rewrite ‘Things Fall Apart’ because the time and process of its creation are different. But it is important to note that the novel did a lot in breaking stereotypes. It made all Africans proud.”
Unigwe, author of ‘On Black Sisters Street’ and a winner of the NLNG-founded Nigeria Prize for Literature, recalled that, growing up in a middle-class home, she had access to books that are, however, from the West. But, along the line, she got the opportunity to read ‘Things Fall Apart’, which, she said, made her realise that Africa existed before colonisation.
Her impression is also that the novel has continued to be iconic because it is a good book. She said, “No matter what you write about, if it is not a good book, it will not stand the test to time. ‘Things Fall Apart’ came in 1958 and tore colonisation apart. It was published in the West; so, Achebe was just being radical. For instance, Tutuola did not question the idea of the colony. But Achebe did so when it was critical.”
Held at the beautiful Mike Adenuga Centre/ Alliance Franciase, Ikoyi, the Ake Arts and Book Festival provided stakeholders an opportunity to celebrate the word and engage several other vital issues in the global space. For one, a keen observer would not miss the fact that it attracted many young writers, poets, film-makers, visual artists and singers, with the hope that it will further grow with them while they too will be able to advance the business of arts and life.
The opening ceremony was so rich that it whetted the appetite for what to experience during the main events. For one, it brought together key players in the industry: hosts, sponsors, partners, writers, other artists, all of whom expressed delight and pledged further commitment to the growth of humanity. The ceremony anchored by broadcaster and poet, Wana Udobang, featured speeches, poetry and musical performances, with the likes of Efe Paul and D’bi Young Anitafirika gracing the stage.
In her welcome address, Shoneyin, who was widely applauded for her resourcefulness and the fast pace at which the festival has grown, expressed joy that it has blossomed bigger not only in terms of content, but also the larger and diverse participants it now attracts.
“This year, we have more creatives from more African countries than we have ever had,” she said.
She thanked sponsors of the festival, especially Sterlin Bank, which she saluted for being an indigenous brand that powers the project.
Shoneyin added, “I am very proud to say that the Ake Arts and Book Festival is now one of the few on the Africa continent that has an indigenous company as its main partner. Sterling Bank has taken the step of partnering the Ake Festival for the foreseeable future. This partnership gives me so much hope. I sincerely hope more players in the private sector develop and promote creativity and the arts on the continent.
“We are immensely grateful to Alliance Française de Lagos/Mike Adenuga Centre for sharing their new and stunning premises with us. Working with Charles and Maurice to make Ake Festival 2019 happen here has been an absolute pleasure.”
The Director of the French Cultural Centre noted that the festival was the first major event to hold at the inspiringly built Mike Adenuga Centre, which flaunts facilities that many participants described as fantastic. Apart from normal office spaces, the centre boasts conference halls, theatres and other impressive arenas. Other notable members of the international community in the country – the Canadian High Commission, US Embassy, British Council etc. – all rallied round the organisers.
Sterlin Bank CEO speaks
Then the time came for the sponsors, Sterlin Bank, to state the essence of its involvement. Its Chief Executive Officer, Abubakar Suleiman, felt very much at home among the creatives and expressed the bank’s readiness to further invest in the development of art and culture.
Suleiman noted that the bank was committed to partnering Shoneyin because it appreciated the roles the sector played, saying such were larger than entertainment.
He said, “It is interesting to see Lola stand here and tell the entire gathering that she is grateful for our support. We did have a commitment with Lola when we started. We said we wanted to have a long-term partnership and we sat with her and listened to what she had done and what she still wanted to do. But the truth is that we might not have known all she thought as far as the project is concerned, but we just know where she wants to go and we want to be on that journey.
“People treat art as if it is what we do when we have done everything else or in some way what we do when everything else has failed. But I disagree with them. I think and I’m truly convinced that everything we know about ourselves and our history is the work of the creative specialists. Everything we understand is understood in context sand that context is the work of our creative people.
“Take away the context and the story changes completely. Last year, I spoke a little bit about how the greatest storytellers in the world were able to give us the Bible and the Quran because those who told the stories told such compelling stories that, centuries later, our everyday life is being determined by the stories they presented. Stories are still a reason for people to go to war today, the reason for people to give up their wealth. They are still the reason for people to do other important things. So, truly, storytelling is much more than what we do when we have done anything else.
“As we sit here tnight, let’s understand this: we are not writing stories just to entertain people. We are writing stories that will lead to peace or war, lead to poverty or prosperity. The stories we write today will form the foundation for everything that the rest of us will do. So, I beg you all, even as we hold ourselves accountable, let us create stories that will inspire Africa to the highest height that it can be.”
Book chats, piercing engagements, celebration of the departed
While films such as ‘Tony Morrison’ and ‘Malika’ were screened, art exhibitions, music concerts, poetry readings and performances as well as panel discussions that straddled all areas of arts and life were held during the festival. There were book chats with many writers – including Jumoke Verissimo (bordering on her new novel, ‘A Small Silence’), Abdourahman Waiberei, Leila Abuolela, Yolande Mukargasana, Wayetu Moore ad Bernadine Evaristo.
Among the issues thrashed at panel discussions are Demystifying Colours, Historical Fiction for Today’s Africa; The Making of a Graphic Novel, the Long of the Short Story and Looking Back on Four Hundred Years of Slavery.
Writer and critic, Molara Wood, gave a preview of the ‘Ake Review’, saying the panel received as many as 500 submissions. On the other hand, while Sterlin Bank, which created a mini village within the venue, organised a promo for participants, Vlisco announced winners of an award it is powering as part of the festival.
During the special tribute session, media executive and writer, Toni Kan; and seasoned artist, Victor Ehikamenor, saluted some creative souls who recently passed on, including Pius Adesanmi, Oyebade Dosunmu and Binyavanga Wainaina.
In one of the corporate sessions, accomplished broadcaster and film-maker, Mo Abudu; and a Kano-based entrepreneur, Amal Hassan, coached the audience, especially young women, on the art and science of running businesses in a male-dominated environment like Nigeria. Another memorable session was the one that examined the historical and contemporary state of Yoruba language, with two scholars – Professor Femi Taiwo and Arinpe Adejumo – as well as broadcaster and actress, Feyikemi Niyi-Olayinka, as panelists. It was moderated by researcher and writer, Kola Tubosun.
