Combustive Synergy at JosANA

Combustive Synergy at JosANA

It would seem that the workings of JosANA, Nigeria’s finest literary hotpsot, are quite similar to those of an internal combustion engine – possessing the ability burn the fuel of histories-in-the-making efficiently, running on the steam of dependably intelligent criticism and of course, producing lines of prose and poetry - that most regenerative of exhausts. It is a synergy of many parts.

The meeting {Saturday 23rd Aug.} began late, at about 1:30 pm, on account of the seasonal rains which saw most of our members arriving in windbreakers and cardigans. The usual salutes were exchanged and we settled to the business of the day. Our long absent member, Patricia Ikejiofor, broke the grounds with her reading of a poem "Sweet Bitter Pill", a poem written in quatrains on the theme of death. By far the finest quatrain read –

As the clock ticks tick-tock rhythmically
You masterminded your art, masked in cruelly
Pitter patter ticking of the ticker
The unwelcome guest even in the house of the vicar

Richard Ali set the critique in motion by admiring the use of irregularly placed rhymes which gave a fine musicality to the lines – then he went on to point out instances where a different order of words and the deletion of an entire stanza would, in his opinion, yield an even finer poem. Silas Nnamonu, retired educationist, however pointed out that at one point the poem joined the specific to the general and while this was not wrong, stanza 3 presents death as an interactive, on-going action – it was his opinion that this finicky movements did not work too well. He also noted, very importantly, concerning the poets use of the word "vicissitude" in relation to death that "death is an end-all, not a vicissitude." Sir Nnamonu also questioned the ending of the poem which was superfluously declaratory. Our Chairperson, Bose Tsevende, however came to the defense of Patricia’s ending, saying each poet has the right to a sort of complimentary close. Sir Nnamonu however repartee’d that it wasn’t a question of whether the poet was right or wrong to use a declaratory close – the question was, does it work? Allen Omale, our ex-Chairman, who was at the meeting in company of his wife Rahmah and child Iman, complimented Sir Nnamonu’s contributions to JosANA especially concerning the artistic amenability of language viz sense. Allen affirmed that while poetic freedom existed to be claimed, traditions are also there to be followed. He then added his criticism of the poem – in his opinion, there were too many "un-poetic words" bogging down the poem and he suggested improvement which Mrs. Patricia graciously accepted to consider.

Next came David Onotu, who read another poem, "Mr President Sire" – it was a poem typical of his style, long and interesting to the ears. Yet, unlike his previous work, the poem became the centre of a critical whirlpool. First, Allen Omale said that some long poems are enjoyable, like the Canterbury Tales and Osundare’s Waiting Laughters, while others are not and that what distincts poetry from prose is the use of metaphor and simile to pass across the message. These poetic underpinnings were however absent in David Onotu’s poem. Richard Ali threw in his own salvo, saying the poem possessed an "ambiguous coherence" – that in the long winding trial of it, the reader/audience, is forced to re-discover themes to encompass the entire work which would otherwise be mutually exclusive recitals. Mr. Ali did not believe that such audience-relative "meaning" portended good writing. Alpah Emeka, Jos City novelist, came to the criticism of the work by saying he found the words as being sound social commentary with a fine flow, and that there were different approaches to poetry. Richard Ali returned, saying "an outraged social conscience is not what makes poetry out of prose!". If poetry is the medium of writing a didactic, let it be poetry, not prose, however densely sensitive, masking as poetry. Sir Nnamonu for his part wondered about the title and varying comments were made on the floor concerning the import of the title. Sir Nnamonu asked whether it was meant to be satirical and someone said whether satirical or not, the idea of the title did not run through the poem. On David’s saying the title was sort of satirical, Allen Omale took him up – when you satirize, you praise and in your praising, you really mock, he said. Yet, there was not a jot of praise amongst the litany that comprised "Mr. President Sire." Steve Rwang Pam, for his part, had the conviction that if the poem were cut by half of its length and tightened, there would be more "poetic juice" in it. And thus, with egos and tempers ruffled, ended the critique of JosANA’s most controversial poem yet.

Next, Bose Tsevende, seizing her Chair prerogative, read an absolutely stunning poem titled "The Voice of the Night" –

I heard the voice of the night
It is not silent anymore
The night talked to me
About imminent breaks,
Nations breaking into war
Homes breaking into fragments
Hearts breaking, cannot be mended.

Aunty B’s poem was read to rave criticism. It was a sensitive analysis of the night, a paean to the unseen and eternally knowing, to the hidden, the vile, the enchantedly profane. Allen Omale – I enjoyed it. Silas Nnamonu – I feared it, I feared the message. Allen also said – Aunty B keeps "bringing in the poetic into her poems" and that the subtle way in which she weaves that poetic into her craft is what sets her out as a poet to be reckoned with. He then compared Mrs Tsevende’s poem to David Onotu’s reading, further buttressing his earlier opinions. Sir Nnamonu wondered about the underlying pessimism he sensed in the poem, a sense of something about to collapse, an appeal – it would seem that the poet has appropriated the definite voice of Sibyl. Sir Nnamonu wondered what might be done to avert the doom foretold? Alpha Emeka complimented Aunty B on her exposition of appropriate and unusual themes. Abubakar Adam, who won the 2007 BBC African Performance Playwrighting Competition, said that apart from the beauty of her language, it was also accessible to everyone. We all look forward to Mrs. Tsevende’s upcoming second collection of poems from which "The Voice of the Night" is taken.

In a meeting already rich in the unusual, a poem entitled "The Chiefdom is Suffering from a Shortage of Guinea Corn" was read by Timi Kpakiama, one of our newer members from the Niger Delta. In a correct showing of the avant-gardism that JosANA has been noted for, the poem is based on translation of traditional Ijaw folklore. It naturally brought the house to the boilers. Allen Omale, while restating his unfamiliarity with Ijaw poetry, however wondered about the length of the title, he’d never seen anything quite like it before. Eric Biame wondered if it came from the translation process? Another debate, as to whether the poem was "original" or not, began. David Onotu was Timi’s supporter viz the unusual length of the title. The poem itself was however an interesting one, with the use of oblique personifications referring perhaps to the Delta vis-à-vis Nigeria.

Aborigines dwelling by Lokoja and the Chad
Were nature’s barometers taming and tending
The garden of God; they were Adams ‘heritors
Before we came, bearing dispersion with us
Richard Ali read a badly received poem, "The Kwararafa Sun." Meant to be an epic of Nigerian identity, Mr. Ali just did not pull it off. Allen said it was meant to be an epic but it had been disappointingly overwhelmed by prose and he suggested a re-write. Bose Tsevende however compared the poem to the work of Okello Oculli. David Onotu said it was unusual for Ali to write long poems and maybe being out of his elemental precise poetry, he had blundered? Alpha Emeka said he was sure the poem read was a "first draft". Graciously bowing to the critical fire of the house, Richard Ali pleaded the wayward talent with which he wrestles and promised to rework the poem so that it would read more like what was envisaged in his mind.

Following this, Alpha Emeka and Abubakar Adam took turns to read excerpts from their published and upcoming novels – "Carnival" and "Sons of Silence" respectively. Abubakar’s first novel, "The Quest for Nina" is due out in the United States in a couple of months with a Nigerian edition expected by April 2009. Abubakar’s excerpt started with "Mother started to die when father and his friend started to whisper in the corners . . . . " and in the two thousand words that followed that phrase, Mr. Adam was able to paint a surreal graph of family dysfunction, captured in insightful, evocatively eloquent prose. Compared to his debut, which this writer has read, Abubakar’s best work is still yet to come and it would not be in his acclaimed dramaturgy, but in the realm of prose. Bose Tsevende remarked that it was a sweet story and she loved his technique of giving, in short sentences, deep insights into characters – something reminiscent of Dickens.

The meeting came to an end with the reading of three poems by our Vice President, Matthew Mzega, one of them titled, in a meeting already rich with highly descriptive titles – "The Smallest Pepper"! It was well received. Matthew, an economist by training, is fast carving a niche for himself, his poetry maturing in strides – as is his sponge-like acceptance of criticism that has no doubt fueled his genius. .Finally, Jos City crooner and JosANA PRO, Steve Rwang-Pam brought the house down with powerful renditions of country music – something beautiful and old that had the words "flowers of gold don’t grow in gardens of stone" in it as well as a fantastic Billy Ray Cyrus piece called "My Achey Breakey Heart."
Talk of synergy and combustion!

Richard Ali is Secretary General of JosANA. Inquiries may be made via rugbali@gmail.com or 08062392145

The Fluorescence of JosANA

The Fluorescence of JosANA

For some reason, the word “ferment” has always fascinated me with its ambivalent Marxist undertone. For a long time, I heard it used in speech by campus demagogues and find myself checking up its meaning again for this article. Oxfords assures me that it still means “a state of social or political excitement . . .” Very fittingly, this word can best describe Jos ANA as it is now, something heading for its full bloom, a crescendo.

The last meeting of JosANA was held on Saturday 3rd, April 2008 at the Nigerian Film Institute, Jos and it began at exactly 1 p.m. with the arrival of the Ag. Secretary General, Richard Ali. The Chairman had made it known he would be unavoidable late but that the meeting should go on without him. {So Ali was Chairman for the day!} Already in the hall waiting eagerly were three members – Esther Chinke, winner of the 2007 Uyi Efeovbokan/ANA Plateau Prize for Poetry, our youngest member, Hamaya Frama Abraham and a new member, Patience Eguwrube who is an actress, a television producer/scriptwriter and is currently working on a book, fiction but one that concerns the Railways, a trip across Nigeria by rail. Pragmatic fiction? The retired but untired educationist, Silas Nnamonu, came in next with yet another new member, Amaka Dike, who seemed rather shy but soon enough the intellection of the house warmed her up. Gradually the hall filled up.

Everyone had had a more or less very busy fortnight and they shared the highlights of the preceding two weeks with the house; basically meetings, deadlines and preparing for exams.

The first reading was by Hamaya Abraham, {our youngest member at a little under seventeen years old}, who read the prolog from her unpublished first novel, “A Chest Of Letters”. It was a most fascinating piece of prose, especially from one so young; it suggested kinship with Nathaniel Hawthorne’s American classic, “The Celestial Railroad”. Mr. Jerome Dooga of the University of Jos claimed the honor of primus criticus {sic] and he first of all praised Hamaya for her effort – then he noted that she had trouble with her point of view which kept vacillating from an “omniscient” to a “third-person” voice and that, of course, is a critical no no. He suggested she try the “omniscient” narrative voice, as the “third person” did not seem to be working very well for her. Richard Ali, adding to Mr Dooga’s comments, said she had sometimes fallen into the error of breaking sentence syntax in a manner, which while might be acceptable in schoolgirl speech, did not work while writing of serious content, a novel no less. He also mentioned that while sometimes writing was didactic, it must not be “preachy {Dooga’s word}”; Ali said it is the novel, taken as a whole that should be didactic and not the authors voice within it. There were plenty of kind comments for Hamaya’s novel.

Next was read the first chapter of Michael Emeka’s draft novel, “The Divine Will”. The first chapter was the background of the story and an introduction of the major characters, a father and his son. The father was a ”soft spoken giant of a man who would only push back when he was forced to the wall” while the son “did not even need to be pushed a little” before unleashing the fury of a storm. The story is set in Eastern Nigeria, precisely in Abia State somewhere near Isialangwa. Michael Emeka’s reading was one of those that because of their sheer perfection, the admirable control of diction and story flow, there were no comments save those of praise. One can easily imagine that Chinua Achebe, if he were younger and still writing, would have approved of Michael’s work. Michael is the younger brother of noted Jos City novelist, Alpha Emeka.

During the reading of Michael’s work, the Chairman, Allen A. Omale, arrived with his pretty wife, Rahmah. The Chairman had attended the Achebe Colloquium held at Nsukka and he proceeded to give the gist of all that had happened. He also distributed the Nsukka program of events. He told us that Odia Ofeimun was there as well as other high priests of Nigerian writing. He told us about a certain Dr. Dennash from India whose paper advanced the thesis that the ruin of Okonkwo lay squarely with Nnoka, his father. It was in the desire not to be like Nnoka that the seed of Okonkwo’s tragedy is firmly planted. Considering that Nnoka has erstwhile been considered a ‘minor’ character in “Things Fall Apart”, this thesis was well received by the house. Strangely, the Jos based playwright, Paul Ugbede had advanced the very same thesis to this writer privately three weeks before. This reinterpretation of Nnoka’s role seems to be largely beholden on the psychoanalysis of Okonkwo and it is tribute much to the credit of our own bard, Chinua Achebe.

But Chinua Achebe was not around for his own colloquium.

The Chairman however informed us that ANA Lagos had come with a larger-than-life painting of the bard by which those aspiring to “bard-hood” {including our lucky Chairman!} could have their picture taken. The Chairman also showed us a clip he made of Nigerian writers during their pilgrimage to Chinua Achebe’s old house at the University of Nigeria Staff Quarters. Our lucky chairman also had his picture taken touching the brick of the house reverentially. Our own Professor of Creative Writing, Kanchana Ugbabe, presented a paper at Nsukka that was very well received. The Chairman however expressed sadness with the dilapidated state of infrastructure at the University of Nigeria and indeed the generally deplorable state of the roads in Southeastern Nigeria, Nsukka particularly. Mr. Nnamonu, whose village is just twenty kilometers from Nsukka, lamented this and wondered why things were still so bad in the Southeast so many decades after the Civil War. Some of those roads are federal roads and the University is a federal University. He said that in one country, no one area should be put at a disadvantage. JosANA members generally concurred and we hope that the FGN would do something about UNN, which is a national university and without which, together with Ibadan, Ife and Zaria, the history of Nigeria cannot be properly told.

Chimamanda Adichie’s family lived in the same house that Chinua Achebe lived in at Nssuka and it was wondered if they had slept in the same room. “Not at the same time,” Mr. Nanamonu wittily interjected. As we say up here, “da haka ne, da magana ya kare”. Were it otherwise, the issue {the genesis of her literary talent} would have been put to rest!

Another new member who came fully prepared was Babajide Agboola. He came with a poem and an excerpt from a play but was only able to read the poem. It was a poem about the sabotaging of the environment and it was the first poem read at JosANA on that theme for a very long time now. However, it came under critical fire from Mr. Dooga who commended the theme but nonetheless condemned the prosaic nature of the poem. Richard Ali said there was a little less poetry in the poem than the poem required. This unleashed another storm as a debate started, following Mr. Dooga’s assertion that there were ‘basics’ of poetry that cannot be deviated from. Patricia wanted to know whether these basics are those of technique or content. Though not unanimously, the house agreed that it was the basic of technique, a poem without a metaphor, or rhythm at least, cannot be a poem. The Dissenting Party held that if the content was profound and written in verse, it was poetry. Jide, whose reading had sparked the row, said “Art is best interpreted by the artist”, a platitude worthy of Oscar Wilde even when one {me} does not agree with it, especially in the context of that particular debate.

Somehow, the house got talking about short stories, how “short” {or longly short abi} they can be. Richard Ali came to this, corroborated by his British Council Radiophonics compadres, that indeed a short story could be as short as one line. He gave the example of Katherine Atkinson’s -

“It can’t be; I’m a virgin.”

- much to the enjoyment of the House.

The new member, Amaka Dike, who had by now overcome her shyness read an excerpt from her unpublished novel. The novel is also set in Southeastern Nigeria. It was a situation of Nwabuife and her suitors. Her use of language was so controlled that I can stake my last Bic Biro that she will be the next great Igbo female writer {watch out, Chimamanda!}. It was one of those reading that elicit only critical praise.

Richard Ali read two poems, “Lady Butterfly” and “Suite of Blue” and opened the floor to another round of critical appraisal. Steve Rwang Pam, the Country music crooner and radio personality, said the poem reminded him of another JosANA when he and Allen were still underdogs, that Ali’s poems reminded him of the things Allen used to write back then and which brought him {Allen] into the eye of philistinic storm. Most people loved the poems and Chairman Allen commented on Ali’s unusual use of simile. A new member and first timer, Ajih Gabriel, also a poet, asked Ali to explain the second stanza of “Suite of Blue” –

A lynched cat swings with dead eyes
Popping educated and too late knowing
The singularity of its day, I pass on
I pass on, leaving some of me behind.

Ali said that the dominant idea regarding cats is that of their ‘nine lives’; but “if I take a gun and shoot a cat, or take a rope and string it up, what happens? The cat dies. Imagine the cat who all the while thought it had nine lives. You grow old and things happen to you and you start wondering whether you are happy or not and what it mans to so be.” Mr. Nnamonu asked why Ali did not use or sparingly used commas and other sentence complements in his poems, to which Richard Ali replied that he heard a personal rhythm in the lines of his poems and that rhythm did not necessarily and indeed is more often than not outraged by the insertion of commas, full stops and the rest of that butting family.

Allen Omale, in a reminiscence brought about by Ali’s “Lady Butterfly”, read a poem from years back, before his marriage, “The Heart is an Organ of Fire”. It was a fine poem, love, but not profane love. It was deeply moving and well received. Allen Omale said sadly that he knew he was incapable of writing such a poem now after all the years, so many things had happened. The house contributed variously to this statement about the spontaneity of poetry and how when you do not write a poem at its own sacred time, you cannot write it again.

Poe3 is the most sacred of all the arts and the poet is something of a prophet in the service of an awesome god, arbitrary in its power and resolute in its finality.

Barrister Redzie Jugo, disciple of Prof. Victor Dugga, the playwright, read a short story, “The Divorce.” It was a court situation with a judge, who disliked drunks and drinking, faced with the case of a man who has beaten his wife to pulp and she was petitioning for divorce. The man, drunk as a lord, interrupts the proceeding with “Mr. Judge, my name is Chuwang Pam and nor ‘Mr. Man’ and you know my name is Chuwang Pam because you, father, gave me that name.” It was just under 600 words and was as punchy as they come.

Barrister Jugo also recently won the top prize, a laptop computer, in a reality TV show called “Shine Plateau Youth” put together by the Youngstars Foundation in collaboration with the British Council.

The meeting ended after that and everyone got together to take a group picture.

Back to ‘ferment’. JosANA is in a state of intense ferment right now and anyone who has been around for a while knows that ‘revolution’ is the next thing; in the case of Nigeria, there is an intellectual revolution afoot comprising foot soldiers {pun intended} who are here on the ground and are increasingly making themselves relevant within the national space. The early Christians in their catacombs were in ferment. The flower of Christianity and its still ongoing revolution of international politics and history is the result of that.

Bow your necks and spread at the fluorescence of JosANA.








Richard Ugbede Ali is Ag. Secretary General of JosANA.