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The Combat
Chuku Debe and Ojo Dada are two Nigerians who come into conflict when Chuku runs over a small boy in his taxi, and Ojo feels that he ought to apologise. The boy (named Isaac) is dead by the end of the week spanned by the narrative. It is revealed that he is the son of one of the men - the parentage is also the subject of dispute - by a certain Moni, who changed her name to Dee Madam after acquiring her independence. The combatants remain unaware of the identity of Isaac as they go off to fight to the death at the end of the action. During the preceding week each has gained the support of a foreign power, the U.S.S.R. in one case and South Africa in the other. Each has been provided with military aid, on the condition that the child will be educated in the country of the foreign power.
The Edifice
The Edifice tells the tale of a Nigerian student in a predominantly white university and the slow, painful deterioration of his marriage to an English woman. In this debut novel, Kole Omotoso captures the alienating experiences of a Black man living in 1960s Britain. Dele is a graduate from one of Nigeria's most prestigious universities. After receiving an offer to study in Britain, he is eager to travel overseas and earn his Doctorate degree. But soon the small, significant moments of prejudice he encounters each day leave Dele feeling unhappy and isolated. From the tangible coldness of his fellow students to the demeaning depiction of Africa in the press, he reluctantly concedes that this is not a place he can ever call home. Disheartened, the only remaining light in his life is his relationship with another student named Daisy. Daisy can see that Dele's love for her is overshadowed by the intolerance he faces. So she makes the life-changing decision to move back with him to Nigeria and leave everything she's ever known behind. But the decision Daisy thought would cement their love ultimately leads to its disastrous collapse...
The Curse
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Achebe Or Soyinka?
Nigerian novelist Omotoso delineates the contrast between the country's two most widely read writers, describing Wole Soyinka as a playful imagist steeped in the myth and magic of his Yoruba culture, and Chinua Achebe as expressing internalized Igbo cultural traditions. He discusses their differences in style, background, and vision within the context and contradictions of pan-African, Nigerian nation-state, and ethnic national agendas. Annotation copyright by Book News, Inc., Portland, OR
Just Before Dawn
Kole Omotoso, one of Nigeria's major writers, is always provocative. His writing is informed by a passionate concern for society and politics in Nigeria. This major work is a blend of fact and fiction dramatizing the first one hundred years of Nigeria. Most of the characters and incidents inthe book are real; the narrative is conceived and written as a novel. The story covers riots, uprisings, private hopes and griefsand coup d'etats -a history marred by violence, with an outcome satisfactory to none. The book was received as a major contribution to African writing, in its innovative style, and was awarded Special Commendation in the Noma Award for Publishing in Africa in 1989 , which described it as providing a more profound understanding than is available in conventional history books and novels.
Bom Boy
Leke is a troubled young man living in the suburbs of Cape Town. He develops strange habits of stalking people, stealing small objects and going from doctor to doctor in search of companionship rather than cure. Through a series of letters written to him by his Nigerian father whom he has never met, Leke learns about a family curse; a curse which his father had unsuccessfully tried to remove. BOM BOY is a well-crafted, and complex narrative written with a sensitive understanding of both the smallness and magnitude of a single life.
Coterminous Worlds
The present collection of essays endeavours to furnish informed responses to central questions posed by the editors: Is the fact that the marvellous coexists with the factual and never resolves itself into the supernatural an indication that the whole literary project of 'magical realism' is an instrumental and representational form which can be regarded as particularly suitable for reconciling dichotomies and oppositions otherwise experienced as intolerable? Was 'magical realism' an explosive process in cultural dynamics, taking place at intersections of heterogeneous cultures most favourable to the efflorescence of this type of literature? The authors of the various essays - on Patrick White and David Malouf, Ben Okri, Syl Cheney-Coker, Robert Kroetsch, Gwendolyn MacEwan, Jack Hodgins, Salman Rushdie, Janet Frame, Wilson Harris and others - provide a dynamic focus on the reality at stake beneath the surface representations of 'magical realism' in post-colonial literatures.
Commonwealth Fiction
Commonwealth Literature Continues To Retain A Separate Identity In The Twenty-First Century, Even Though Some Of Its Creators Do Not Favour The Term Any Longer. Our Identity Stems From Our History. English Was A Historical Accident That Gave An Overwhelming Majority Of The Commonwealth Countries The First Opportunity For Creative Expression. English Is Now The Chief Marker Of Identity For Commonwealth Fiction, Which Owes Its Current High Visibility In The International Arena To English. In This Light, Stimulating Answers May Be Found To The Questions Concerning The Relevance Of Commonwealth As A Literary Category, The Common Characteristics Of The Literatures Produced In The Former British Colonies, And The Role Of Academia In Keeping Alive The Idea Of Commonwealth Literature.In This Anthology, Scholars From At Least Three Continents Analyse Some Important Works Of Fiction Originating From The Former British Colonies, Deal With Major Topics In The Current Postcolonial Debate, And Put Commonwealth Fiction Itself Into Perspective.
