Literature
Review of Sumaila Umaisha?s collection of short stories, Hoodlums, by Ezekiel Fajinyo
It was Richard Wilson who wrote that the modern writer of short story ?writes to give pleasure, regardless of pointing to the moral, but he cannot write at all without a nucleus of thought, which either provides a prudent commodity on life incongruity, which lies at the last of the trust honour, or creates that feeling of tragic horror for which philosophers have claimed a mental and spiritual value of a high order. The best type of modern story may not be a morality, but it is most assuredly a thing of vision, spiritual outlook and discernment, nor does it ever wholly satisfy?.
A close reading of recent short stories from Africa will easily reveal the truth of this observation, especially as the continent has simply refused to embrace virtuous spirit of self-regeneration and holiness which should pull it aside from crippling qualities of grimness, sordidness, terrorism, violence, and chaos. Sumaila Umaisha?s Hoodlums (short stories) is a participant ? a witness to these ill-virtues which he particularly anchors on situations in modern Nigeria. The 17 stories in the collection are propelled by a pattern of events which are helplessly pessimistic; they are peopled by those whose penchant in life is largely defined by high dosage of tragic impetus in a worldly full of diverse experiences of loss, grief, inhumanity, murderousness, hatred, and sheer animality.
?Militants?, the first story, is a true reflection of what occurs in the Niger-Delta region of Nigeria. In this environment, violence has become a celebrated culture, even when the people are helplessly gripped by some vengeance mission anchored on the proceeds from oil exploration. The militants were a group of young fellows so desperate to reclaim the land from what they saw as the exploitative antics of an insensitive, violence-loving and marginalising regime. In the confrontational ?business?, bomb explosions were common and breading reality of insecurity and danger to lives, unsparing of even the young inexperience as we see of the 6-year old Tene and her friends. The environment is seized by the ?confused flow of human traffic (which) was so charged with the fear of death that it had no regard for little kids...? (9). The conflicts between the militants and federal troops often led to ?heavy causalities on both sides? (10); kidnappings also easily resulted in this environment of tempest where vehicles ?are driven by jittery hands? and ?the heavy boots of soldiers who were desperately taking positions? (11). Tene, in the midst of this unsettling experience, rushed from school to inform her parents of the unceasing bombs with ?ear-tearing sound even when they are themselves helpless. At that point when mother and child were to embrace in celebration of their eventual coning together, an explosion lifts the mother and smashes her on the ground.
The image of ?thickening clouds of smoke reducing everywhere to a haze of misery? (11) establishes the themes of disorder, chaos, hopelessness and helplessness. The author?s narration is so dramatic and suspenseful. The innocent of Tene is a source of humour; ?...when she got back to school the next day, she and her friends would discuss how the teachers jumped through the windows. They would laugh. They would laugh and laugh...? (10). But there was no guarantee that the teachers and pupils would ever meet in an atmosphere saturated with much violence and tragedy. The narration is brisk and the images are simple.
?After the Riot? is another story which easily reminds the reader of, for example, Wale Okediran?s After the Flood. If the Niger Delta is a world in tension and perpetual chaos, it is no less so in other parts of Nigeria.
Zabi, the chief character, was desperately in search of his family, after returning from farm. He meets a chaotic situation in town, ?with a crowd running from the town ? men, women and children. It was an awful sight. The red light of death was in the eyes of everyone...? (13). Zabi had to disguise as a mad man in order to escape death in the hands of the rioters since their ?target was the sane; those who still had a future...? (13). The blood-letting rioters without any sane ideology, simply beat up their victims till they fell, and then slaughtered them: ?The more a victim pleaded with them the more brutal they become. After slaughtering such a victim they would set the body a blaze...? (13). Homes are set on fire, and ?everywhere was littered with corpses. Some were mutilated while others were burnt beyond recognition...? (14). Zabi could not find his family members among the corpses. But his naivety was exposed when he thought he ?had nothing to do with the contentious difference? obviously anchored on religion. The riots lasted three days and insecurity and destructions covered the land. Zabi?s experience was the type which every other person faced in the environment, an endless search in hospitals, mortuaries, streets, army and police barracks ?where some of the survivors took refuge.? (14). Zabi could not find his family as the ??woman in red? turned out to be a man in blacks safari? (15). He had been pursuing a mirage symbolized by this woman ? a search for emptiness, meaning and sanity. His nakedness symbolises collective grief, uncertainty and insanity. These themes reflect what the society desperately needs, and indicated in Zabi?s own thoughts that whenever he found his family everything would be all right. ?I will buy new clothes for you, the kids and myself and then I will build for us another house, a better house. Believe me, the bad days will be perfectly put behind us...? (15). Zabi is a symbol of that hope that is being searched for in Nigeria because there is an urgent need for recreation and collective sanity. The story is brilliantly narrated and very rich in images and suspense. Zabi the major character is introspective, imaginative, caring, understanding and hopeful. The unseen wife is a symbol of lost dream which must be found. The theme of a search for an ideal situation is orchestrated by the symbolism of nakedness reflecting terrorism, sadism and hopelessness. This story is robust with dramatic energy, vigorous and lucid. There is attention to visual details yet the story is compact and meaningful.
?Hoodlums? is another story which reflects the themes of insanity, violence, disorder and recklessness in society. It is centred on the experience of journalists molested and harassed by security chiefs who believed that the press rather knowingly engineered revolts in Kaduna through their unguided writings on issues of Shari?a (Islamic legal system) and ethnic differences among the people. Ben was the Kaduna Bureau Chief of the New Nation newspaper who was to write a report titled ?Kaduna Riot: 500 people slaughtered?. His editor, also known for his radical perspective, was equally arrested and tortured by the police. Inside the police van, Ben could see rioters and ?the virtual lack of security. The number of policemen and soldiers on the street was obviously too small to cope with the situation. Dead bodies were everywhere...? (26). People were maimed and killed recklessly; family became disunited and the land was one experience in chaos and disorder. A critical reader or witness of situations in Nigeria when the Shari?a legal system was institutionalized by some state governments in the north will easily agree with Umaisha?s depiction of the scenes and events stuffed with sadism, death, cold-blooded murder and loss of sanity. The hoodlums in the story were the battalions of angry, hungry and unemployed young people who often held up to anything to vent their spleen.
A sub-plot in the story is centred on the romantic event between Ben and his girlfriend, Mario. Ben was a medical doctor who found fulfilment in journalism, and he had been encouraged by his friends Ahmed (editor of Frontline newspaper) and his lust for popularity to abandon medical. He had a running battle with his father over the choice of profession which he (his father) felt was too risky and reckless and ?obviously not the right his profession? (21). To the father, journalism was a call to cheap death: ?How many journalists have really made it in this country; all they do is stick out their necks for others and get abject pay for all the trouble or even get killed...? (21).
The theme of the hazards of journalism, the murderous socio-political implication of the introduction of Shari?a which bred ethnic and religious crises, insecurity, violence, police antagonism to the people?s inhumanity and abuse of democracy are neatly interwoven in the experiences of the dangerous encounter between the journalists and police. There is lack of religious tolerance and political peace in the land.
The style of the narration is also beautiful. There are elements of conflicts and drama and the dialogue is most potent especially between Ben and his father, Ben and Mario, and the policemen and the arrested journalists. The narration is easy flowing and there are images of fear, terrorism, haziness, insecurity and brutality on every page. The police also symbolize intolerance, viciousness, irrationality, menace and brutality; they are equally hoodlums. The streets are a symbol of restlessness rudderlessness, incoherence and disorder. There are elements of flashback (Mario?s meeting with Ben at the university), graphic details of events and situations and memorable love scenes.
History is recalled in the reference to Dele Giwa?s murder reflecting a real situation in Nigeria. This is aside from the actuality of the recent Kaduna socio-religious and political riots. There is seriousness of approach and organic unity of the structures in the story. The characterisation is well handled. Ben is a hard working serious-minded, bold, committed, courageous, handsome former medical practitioner and journalist. His is equally bold, audacious and assertive while Mario is a lawyer press-loving, dedicated, principled, loving, calm, caring and understanding female friend to Ben. She is a symbol of love, hope and promise; an inspiring spirit behind Ben?s dedication to his job.
In The Last Hiding Place, Umaisha is still concerned with the experience of violence in a marriage setting. Amelia (aged 34) had fallen in love with Professors Ameh Deen (60-years-old) because of his brilliance and simplicity though he was considered by many as a madman because of his eccentricity. She had refused to be persuaded to abandon him early enough when he proposed marriage; ?She didn?t even bother to put up the usual feminine pretence. She gave the answer to him straight on a golden platter. And just in four months the marriage was conducted.? (33). As the story develops, the reader encounters expanded themes of fear, search for sanity and marital fulfilment, confusion, frustration, agony, loneliness and psychological tremor in both Amelia and the Professor. Professor Ameh Deen confessed to being a ?nocturnal creature.? (36). ?I don?t sleep at night... I walk in the night. I roam the wilderness?. This obviously was an ?abnormal living? which had delayed his marriage plans. In Amelia, he had hoped to ?live a normal life with you for the rest of my life. I thought you were my last hiding place; a soul mate on whom to rest my heart, someone in whom I could hide myself away from the harsh realities of life.? (37). Despite their differences, they still clung to one another in fulfilment, especially because of their similar, artististic obsessions. The themes of the past, demand of creativity, love, confessions, and demands of matrimony are beautifully packaged in the story. There are also subjects of the fear of the unknown, role of personal convictions in choices, and the crucial inspirational impulses propelled by the muses.
The narration is swift and colourful, even detailed. There are flashbacks which solidify the past and the present; as well as conflicts which are resolved in a gentle, calm manner. Suspense is sustained throughout while there are rich images of confusion, chaos, the unknown, fear, loneliness and abnormality. For instance, all Amelia could see ?was solid darkness dotted by blinking fireflies... Her fear rose with every heartbeat. Fear of the night and the deadly possibilities...? (34). Her submissiveness also reflected a good image; ?...Go on being yourself. I will adjust to you. I could even walk with you in the darkest night and in the wildest wilderness, if you so wish...? (38).
The dialogue is rich in its exposition on disappointments, frustration and unease. Confessional statements are made in very subtle manner, thereby aesthetically energizing the story as we see of Amelia?s disclosure that she was a drug addict!
The characterization is also well handled. Amelia was an actress; a bold, daring, forgiving, loving and feelingly sensitive wife while Ameh was a profound writer, thoughtful, restless, a misunderstood man. He was simple, diplomatic and an unusual husband. He was busy searching for fulfilment and happiness not in people, but in his writings.
?The Outcast? is the story of Ilema, a young lady who grew up wondering when to ever see her father though brought up by surrogate ?mother?. Feeling incomplete, she subjected herself to some introspection and self-questioning. When she travelled to Makurdi to ask the ?mother? she was confronted with the story which she had never heard before then; she was picked up from a rubbish dump and adopted by the surrogate mother, who herself had been childless, and treated like an outcast: ?I am an outcast. I was rejected by my people. I was branded a witch and rejected because of my inability to bear a child.... with pain in my heart, I divorced my husband, the fourth one and left home. I left my dear home, Ajiola, for Kaduna. And that was where, Ilema, you came into the pathetic story of my life...? (43).
The themes of the story include dejection, rootlessness, alienation, abandonment, gender crisis, childlessness, discovery and forgiveness as well as the dilemma of a superstitious society. Mummy?s being an outcast was propelled by her childlessness, and it was a rumour-mongering society. The theme of the past as a trap is pathetically treated.
The story bears an avalanche of rhetorical questions especially by Ilema, trying to discover her past; a refreshing quality of suspense and a collection of images one of which is darkness, suggestive of the darkness and uncertainty of Ilema?s past. There are also images of pain, divorce and discomfort; Mummy?s sickness, for instance. ?...her cough ?sounded like a wet rag being yanked apart. She spat. The mucus was bloody. Her face twitched in silent agony as she waited to regain her breath...? (43).
Irony is presented through Ilema who wished to attack the mother but learnt that she actually was responsible for her (Ilema?s) survival. Her ?dark mission? and ?an ominous desolation? were actually propelled by a feeling of anger which should have been an expression of appreciation to a woman who saved her life. The society tradition is ridiculed because it was archaic, backward fear-propelling, wasteful, rumour-inspiring and deeply superstitious. The characterization is good enough. Uncle Adejo was understanding, caring, and supportive. Ilema (18), a student, was deep-thinking, emotionally depressed, curious and fatherless. The mother, a rich, divorced trader, confused, ambitious and emotional. She was a victim of a harsh, superstitious and backward society. The story is rich in pathos and sarcasm. There is coherence and colourful sublimity.
?The King Himself? is the story of a rising bureaucrat who turned mad and occupied a space in the midst of junks in a roundabout, in Kaduna. His madness was bred by hard drug and the antics of a society whose sanity is questionable. His eccentricity, even as a madman with deep and penetrating power was rather curious. Thought the story had started being told through a third person narration, it eventually became the lot of the chief character the King to narrate his own experience. The transition is a superb blend of artistry and craft by Umaisha. In the story, the King found himself assailed in different corners by much uncertainty and immodest characters; he had to live on drugs to capture his sanity. We learnt of a millionaire who killed his wife; the wife was the previous wife of King. Women friends whom he had were equally tempestuous, immoral and irrational.
The narrator had engaged King in dialogue on life and it was discovered that his story was one of ?top civil servant, a politician, a businessman? rolled together. Boastful, arrogant, reckless and power-drunk, he created a game of violence, propagated by his secretary, against all visitors to his office. He was regarded as a madman by everyone. His eccentricity and wild manners became hardened by his spirit of lust and love for drugs.
One of the key elements in the story is its humour. He said he was living in a palace but it ?was an upturned canoe. It was the filthiest of all the junks; it was smeared with shirt and something like dry blood?. He ordered the visiting journalist to sit and his philosophy was grafted on upturning all that was indecent. For instance, he said; ?I?ve never seen a millionaire who is not mad one way or the other? (48).
The dialogue is a catalogue of dramatic expressions oiled with selfish, haughty mien. The insane man had a lot of wisdom in him as well as being exposed to a wealth of information; and the discussion between him and the journalist and also his secretary revealed a mind that is sane even when the body is something else. The setting of his former office was a mad environment where sexuality, wildness, recklessness, violence and hatred were propagated.
The narration reveals a story with themes of madness, social recklessness, immorality and violence, yet all these are anchored on the absurd mentality expressed through grimness, tragedy, hopelessness and death-wish. Such stories are loaded like, for instance, Gbadamosi?s Sunset Over Nairobi. The past is often littered with other broken tales, interior monologues, criminally-induced passions, endless puzzles, rough ambitions, suicide-mission, complexity, bewilderment, frustrated hopes and jungle wisdom. In language, expressions bear the stamp of confused thoughts, wild actions and ignoble enthusiasms.
There is a subtle criticism of the task force in this story and also of official arrogance, corruption, power drunkenness. Every character has a trace of madness because the society admires sadism, irrationality and confusion. There are elements of irony, sarcasm, drama and excursions into the characters? psyches. The characterizing is also plausible. The King is authoritative, informed and feels himself sane. His language ironically shows a mastery of situations. His wife is a drunken, viciously reckless, violent and shameless mother of four. The secretary is irrational, tempestuous and dubious, just as Viva, the visitor. The millionaire who killed his wife is madly angry; his wife is questionably immoral. The society is a sick one, giving birth only to the sick.
In ?The Forbidden Path?, the story is centred on an old woman in a traditional society (Irebu) in Edah clan, who is regarded as a witch by virtue of the power of the clairvoyance and who, in the past, successfully dared what was considered a desecration. It is a world of deep mystery because the society itself is ancient in its ways; the people are highly superstitious; the young ones who leave the village often refuse to return for fear of getting killed. Tradition, especially belief in witchcraft, still prevails; people do not trust one another. Native festivals like the Ogani festival are still celebrated, there are sacred places where women cannot go and masquerading is often in performance. The society is not modern, and mutual suspicions are rife.
Onkwo, the old woman, is therefore a symbol of tradition not properly understood ? deep, mysterious, bizarre and frightening. There is lack of modernity and the fear of tradition. Life is not to be easily understood by the young, and this makes it impossible for them to effect any change. The old woman here dissolves in the river because she commanded unusual powers of mystery.
Most African societies are known for such unusual people and happenings, yet development has become so difficult to introduce. The work is a satire on this reality, especially since the young fear to change anything contrary to tradition.
The symbols are well used. Onkwo is a living tradition threatening the development of modernity. The owl is a symbol of deep, unknown mystery. The river may be the source of life but it is also of death and uncertainty. The diction is folkloric ? references to ?forbidden path?, ?the journey towards the river?, ?the incident of moving star?, ?priest taking the path?, etc.
The linguistic world is drenched in references to communality, festivities, witchcraft and the guiding spirit of the clan... (56).
This mystery conjures poetic exercise from the author; ?The deafening silence... moving into a whirl of nostalgia; a distant song, awesome, mournful, forbidden? (56). This is part of the folkloric experience as the use of language in the traditional societies is often rich in riddles, proverbs and poetry. The narration is swift ? moving.
?Seat of power? is biting a satire on misgovernance, exploitation, graft corruption, intolerance, injustice, mismanagement of resources and socio-political discretions. There are also themes of insecurity, hypocrisy, materialism, insensitivity, arrogance and cultism as the reader goes through the voice of Sa?eed, the ruler, who gave out the impression that he was a successful ruler and achiever until he met his friend, Shamna. The Kingdom (Huzau) was thought to have advanced technologically, especially with the illusionary emergence of ?a special micro device which, when swallowed, lasted a lifetime...? (59) and ?thought-control device or the special audiovisual phone? (59) among others. The unusually vast kingdom with ?thousands of ministerial heads? (58), and Sa?eed was indeed ?crowned as the 4000th king...?
It was a world of grand illusion; empty achievements and self-deceptive progress; land of godlessness and false paradise. Shamna, the radical and former friend to Sa?eed, paid visit and upon his act of criticism of the leadership, clamped in the seaside resort (prison) for 50 years ?to cure him of what I considered to be a malady resulting from his 2000 years of wandering? (64). Ironically, the prison, according to King Sa?eed, was ?not a prison in the real sense of the word... It was a sort of paradise established for the purpose of taming radicals who asked too many questions about the affairs of the kingdom... (64). When Shamna regained freedom, he perpetuated his progressive criticism of the regime and the conflicts became obvious until ?a giant spider? came on the scene and effected change in the leadership.
The story is unusual in its societal time and references, size of kingdom and its ministerial programmes, its prisons and claims of achievements. Rich in ironies, sarcasms, and exaggerations, the narration is swift, interesting and humour-endowed. The satire is simply on irresponsible, delusive leadership in Africa where sit-tightism, greed, pride, and insensitivity are the order of the day.
The first person narrative style (we hear Sa?eed mostly) shows the level of self-indictment, foolishness, hollowness, brutality and grandiose obscenity, all of which were pointed out by Shamna. Much creativity and imagination went into this work which is rich in suspense as well as sense of place and setting. The symbol are also well-placed; the land is itself a prison; ?giant spider? is a military coup d?état led by a defiant man; unidentified object refers to Shamna who was poor, progressive- minded and radically disposed but looked down upon by the proud leader Sa?eed; and the reference to ?4000th King to rule for 300 years? satirises the sit-tight culture of leaders who dream of living for ever on the throne.
The story recalls the events of or Orwell?s 1984 and depicts the ironic richness of Jonathan Swift. It is a mockery of religious insensitivity, false glamour, impotent leadership, false value and senseless imprisonments in an upturned world, where leaders are always day-dreaming. It is anchored on magical realism with all the detailed unusualness.
?The godfather? is another story whose themes centre on exposing political rascality, selfishness, pride and arrogance, disregard for the masses and manipulation of power, the kind which prevails in most African countries today. Chief (Dr) Odaudu Okpotu and Chief Iban were birds of the same feather; rascals and political nitwits who use money to manipulate elections, pollute power and selfishly impoverish the land. They functioned through ?impeccable rigging styles? (70), ?ability to sound convincing to the electorate even if one didn?t mean a word of one?s promises?, ?bloodshed that attended election,? carefully monitored appointments and award of contracts, and sponsorship of candidates to serve their selfish reasons.
They also kill, maim, rape and launch violence everywhere. Obata is eventually killed by the Godfather who had sponsored his mayoral elections and in order to destroy the political interest of his close rival, Chief Iban. ?The Godfathers? created a regime of terrorism in the land; weapons ranging from knives to sophisticated fire arms also came into play. Every campaign rally end up in loss of lives and property as political thugs from rival parties clash. The story is commonplace especially in Nigeria where godfatherism is much on display.
There is a lot of irony, sarcasm and suspense in the narration. The dialogue is rich and strong, and blends fruitfully with the characterization. Conflicts dominate the narration as well as well-managed narrative style. The system brought out is one of evil, reckless murderousness and lack of respect for the human dignity.
?The Magic? is built on the encounters between Malam Sanda (a spiritualist) and Bologi (a leader). The charm previously given to Bologi for success was destroyed by his child, unknowingly. He has to seek out the new abode of the spiritualist to renew same. In the process, he discovers that the charm is not what was working for him, but the simple philosophy taught him by the spiritualist; ?Keep it in your box. Then keep close to God and be good to everyone, including those who appear to be unfriendly to you. And work hard. These are the conditions one under which the charm will work...? (78). Bologi is shocked to realise that what he was actually spiritually searching for should be part the morality which he should adopt to guide himself.
There is action and movement in the story, like with most in the collection. There is suspense and irony because what a leader needs are not charms and amulets but good work, honesty, sincerity, focus and self-discipline. Leaders have no reason to visit pain on their people. The moral direction of the story is anchored on this philosophy.
Malam Sanda symbolises the voice of morality and decency. Bologi?s search is a search for vanity and emptiness when the solution to his quest is to be found in his style of living. Another feature of the story is its dialogue ? enervating and well-placed. Equally, the themes of fear, self-discovery, enlightenment, and discovered morality are well integrated, though not much of narration takes place in the story.
There is humour at its conclusion, and the psychological diagnosis of Bologi has a good effect on the story. Also, the use of known places like Bida, Minna, Kontagora and Agaie adds spice to the actualization of its setting.
In ?Soul Mate?, the story of Lilian, former drunken cigar-smoking prostitute is pursued as she faced the iron bangs of life, moving in search of fulfilment in disco halls and in arms of men. Her experiences were disappointing, harsh and brutal in their frustrating effects, until eventually she falls in love with a medical doctor. The themes of loneliness, frustration and hopelessness are pushed through her; ?...a state of lingering grief and loneliness resulting from the sudden death of her parents, killed in one of the perennial ethno-religious conflicts in the city...? (83).
She is a victim of sadism and senseless clashes; her love life is hollow and scandalous. In Bulus, she finds fulfilment and love, and this expands into the theme of reconciliation.
The story is rich in pathos and dramatic value; suspense lifts its message to a level of deep empathy, especially the wild experiences of Lilian. There is irony, as well as images of lust, frustration, lifelessness, loneliness and grief.
The two main characters are Lilian (searching for meaning and relevance) and Bulus (considerate, supportive, understanding and good-hearted young man). The narration is beautiful, especially as the reader moves with Lilian on the streets, and through the Rockview Hotel.
In ?The Honourable Minister?, ?Umaisha satirically treats the story of the impotence of power and the falsehoods, indiscipline, hypocrisy of the leaders found in Jawan. These ill-virtues are projected through drama by the drama group of the Federal Government college, Jawan, right before a large audience, including ?the Honourable Minister of Information? (87) at a special contest organized by the First Lady of the state to mark the nation?s independence anniversary...?
The drama turned out to be a reflection of the hollowness of power. The characters here are the actors and actresses, voicing out the dilemma of leadership, for instance; ?What is power without a screaming siren?? (89). The characters are played by the Honourable Minister, permanent secretary and entourage. It is one of the deepest-cutting satires in the collection, especially its lampoons and humour. The ?characters? are fearful, lousy, corrupt, greedy, siren-loving, reckless and selfish. Most times, African leaders pronounce on projects to which they attach no significance as we see of National Poverty Eradication Programme, National Reorientation Agency, and ?a panel of inquiry to investigate the misappropriation of two billion naira meant for some federal civil service pensioners...? (89). The leaders fail to provide boreholes, education, electricity and lifesaving solutions to poverty, yet they claim to have achieved so much. The Minister told the audience in the drama that even electricity poses no problem any further; and that is the point light goes off.
The drama is self-revealing and strongly satirical. Not much of narration occurs here, but the characterization is good. The Minister, permanent secretary, First Lady and entourage are hollow-brained, deceptive, pretentious and ignoble. Irony is implied in their presence at the performance where they are confronted with the truth. There is audacious creativity and authenticity in the story.
In ?The Black Cat?, the old woman experiences an unusual unity with a black cat in her life of loneliness, alienation, grief, poverty, helplessness and painful memory of the past. She feels unwanted and abandoned in the city where she sells ?cola nuts and cigarettes? and later returns to the home she had abandoned over 20 years before. She then meets emptiness, poverty and most of her family members are dead. She lives in a ?dilapidated house?, the ?only legacy left behind by her father. Whenever she is not in front of the house selling cola nuts and cigarettes or in the parlour praying, she is staring at the cat?s eyes in the dark room...? (93). In her unusual association with the cat, she feels a sense of triumph; she is able to make mini-astral travels which expands her vision ?and her consciousness becomes limitless. Her range of vision becomes boundless, enabling her to see everywhere and any particular place simultaneously. She can see through anything. No barrier is thick enough to obstruct her view. Her perception is penetrating, comprehensive and infinite.? (94). She feels uplifted by the experience; the world she found for herself is ?exciting and real, there are no shadows to be chased no secrets, no mystery, but plain reality.? (94).
Through her, the themes of self-discovery through ?the hidden treasures of this world? (95) is projected. She is able to triumph over the surrounding limitations and physical weakness. The cat is a symbol of her exercise in self-peace and vision; she becomes a prophetic figure in her own world. The cat assists her to discover her innate power, which is why ?...the black cat wasn?t just a black cat; it was her past, present and future, her source of strength in her gradual transition to the unknown...? (92). Indeed, ?By merely staring at its spooky eyes she could relive her life. The cat was hope symbolised...? (92).
Ironically, the poor physical environment is not a source of limitation to her but a tool for self-discovery. Even then, she needed the poetic trips into a higher consciousness only temporarily, for she must return to the level of humanity after sometime: ?Suddenly she is in a whirlwind... solid form...? (95). The narration itself is poetically packaged and it is rich in suspense and dramatic unusualness.
?The President?s Portrait? is another satire on the ugliness of leadership and this is a rear work of art. Amedu, the artist, spent years creating the beautiful portrait of the national president, until his wife (Mama Alima) and daughter (Alima) criticized him for making too much of the portrait. The criticism makes him caution himself on the leader who turns out to be a master rigger of elections and corrupt. Though the finished portrait was to be presented on the inauguration day and on his 100th day in office the event could not hold, yet Amedu would keep jostling it and ?applying fresh colours?, acting like one possessed.? (97).
After the third year, Mama Alima is to see the portrait when it falls down, ?knocking down tins of colours...? it was ?like the smear of blood and rotten eggs.? (98). Instead of being angry, Amedu laughed and said: ?This is perfect... You have won the prize!?
The story is satiric in its portrayal of the leader as today, unattractive, rotten, ugly and wasteful. The ugly image of the colour-drenched portrait helps to establish this. The story is attractive also for its dramatic quality as well as suspense, and the characters are lucidly presented. Amedu is hardworking, focused and thorough, but he is less observant and sensitive like the wife and daughter. Irony is implied in what becomes of a portrait meant to honour the leader! The diction ? like with other stories ? is simple and the free flowing narrative skills of the author cannot be doubted. The elements of humour are neatly woven with that of seriousness, and the product is on aesthetic beauty.
?The Riot? is another story, which reflects the pathetic culture of violence, disorder and chaos in modern Africa. Alhaji Ibrahim trains his binoculars to capture the event of the riot happening in the ?ghetto areas of the city? caused by increased fuel prices to which he has given his support for selfish reasons: ?He knew people would rise in protest, knowing it would push them further down the pit of poverty. But he supported it because it would extend the chain of his companies...? (100).
Ibrahim has friends like himself perpetuating the criminality, especially Chief Emeka and they use their closeness to the Inspector General of Police to advantage even when they know that no machinery ever works in the country! Ibrahim and his friends belong to the exploiter class ? selfish, mischievous, notoriously arrogant, brutal and exploitatively manipulative. ?...They discussed the possibility of gaining from the riot. Contrasts for the reconstruction of the public structures damaged. Contracts for the supply of relief materials. Contracts for public enlightenment to avert future violence...? (101). Though enjoying his discussions with his friends, Ibrahim?s wife is eventually killed in her vehicle.
The plot is linear and beautiful and there is attractive air of suspense, drama and irony. Images of violence, chaos, death, and danger are splashed out in the story. The distance between the rich and the poor is equally established. The dialogue is quite illustrative of this difference, especially the conversational process on phone. Tragedy awaited Ibrahim who has been in his sitting room in his four-storey mansion and engaged in ?a violent scream.? (101). The man with a fleet of fifteen cars who loved to oppress the poor is shocked when he discovers that the car has at its back seat, ?the body of his wife.? (102).
In the ?Roadblock?, the story is told of a commercial driver called Habila (alias Well-meaning Nigerian) who has devised a strategy to destroy the extortion policy of the police on the road even as the Inspector-General of Police has ordered ?the withdrawal of his men from checkpoints...? (103). Roadblock has been known to be venues for corruption and exploitation, and the drivers celebrated when these were removed. Habila?s strategy is in what he calls ?half-twenty, half-twenty naira secret?(104) in which he always tears N20 note by half, giving half to the police to ridicule their flare for extortion and criminality. But while the roadblock could be abused by police, armed robbers could also turn them to avenues of attack as suffered by Habila on a trip between Kaduna and Abuja.
The satire is punchy because there is no difference between the police and the robbers. The criticism of the social system is subtly presented through ironies and humour and the events of the story are carefully woven through intricate collection of words and sentences. Habila is the symbol of drivers who experience problems in the hands of ?security? officers who often refuse to do their work. Conflicts and coincidences are carefully blended with details of the narration.
In ?Do or Die!? (a common negative aphorism among Nigerian politicians), the story is about politicians seeking to eliminate one another shortly before an election. In the process the chief thug, Saleh, alias Kill-and-go, has to plan on both of them (Senator Abu Danbo and Alhaji Hamza) in order to attract more money to himself.
The themes of greed, graft, hypocrisy, electoral manipulation, fraud, murderousness, blackmail, mischief and lust for blood are projected through them. Even when politicians donate boreholes or infrastructure (as done by Hamza), it is to pursue selfish ends and not because they love the people. Elections are rigged; intimidation of rivals takes on different, dangerous dimensions, the tribunals are rendered useless, thuggery and violence are played out and security men are employed to service wicked electoral programmes. The politicians never ever plan good roads, water, electricity and transport network for people in the constituencies.
Dembo, a senator, turns his constituency office to ?a campaign centre than machinery for collating and channelling people?s opinions for legislative decisions...? (108) and he believes that ?...the elimination of Alhaji Hamza was the only guarantee to his winning the election.? (108). The party system is corrupt; politicians are insincere and immoral; they spread terrible lies amongst people.
The story is rich in ironies as Kill-and-Go, their main ?machinery? for thuggery, cheated on the politicians. The narration is careful in exposing the dimensions of political criminality in the land; there is suspense and dramatic quality. Dambo and Hamza are of similar characteristic ? dangerous, wicked, mischievous, corrupt and ruthless, just like kill-and-Go. There are images of danger, frustration and deep ruthlessness. The third person narration, conflict and viable sense of place and setting conspire to give colour and authenticity to the story.
Hoodlums easily refreshes the reader?s mind on the gory situation in Africa today, a continent of horrors, violence, electoral manipulations, exploitation, fraud, leadership complexities, selfishness, criminality, murderousness and religious and social impotence, as we also find in the richly-endowed short fiction of Gbadamosi, Gimba, Dzukogi, Sheme, Ajaegbo Attah, Alkali, Onyeama, Lamikanra, Razinat Mohammed, Adebowale, Adewale-Gabriel and Ojaide, to mention a few.
- Hoodlums: A Template Of Pain
Review of Sumaila Umaisha?s Hoodlums written and presented by Dr. Emman Usman Shehu, Director, International Institute of Journalism and President of Abuja Writers Forum, at the public presentation of the book in Abuja on 21st July, 2011. Sumaila...
- Umaisha?s Harvest Of Crises
Title: Hoodlums Author: Sumaila Umaisha Publisher: Hybun Publication International Year of Publication: 2010 No. of pages: 110 ISBN: 978-49181-2-1 Reviewer: Usho Smith Adawa The spectrum of criminality in Nigeria cut across all facets of life....
- Rhythm Of Fear And Violence In Umaisha?s Hoodlums
Reviewed by Isaac Attah Ogezi In the late 1980s, Achebe, in his timeless classic, The Trouble with Nigeria, classified Nigeria as one of the most unsafe places to live in the world today. Daily events in the country have made this assertion truer in...
- Hoodlums: Portrait Of A Crisis-ridden Nation
Title of book: Hoodlums Author: Sumaila Umaisha Number of pages: 110 Publishers: Hybun Publication International Date of publication: 2010 Price: N500 Reviewer: Yahaya Ibrahim Over the years, protest writing has become the focal point for many Nigerian...
- Hoodlums: A Commentary On Society
Elizabeth Adeolu?s review of Hoodlums, a collection of short stories by Sumaila Umaisha, published by Hybun; pages ? 110 When one reads Sumaila Umaisha?s collection of short stories Hoodlums, one sees how the everyday mishaps, joys, and sheer insanity...
Literature
Hoodlums: A witness to ill-virtues
It was Richard Wilson who wrote that the modern writer of short story ?writes to give pleasure, regardless of pointing to the moral, but he cannot write at all without a nucleus of thought, which either provides a prudent commodity on life incongruity, which lies at the last of the trust honour, or creates that feeling of tragic horror for which philosophers have claimed a mental and spiritual value of a high order. The best type of modern story may not be a morality, but it is most assuredly a thing of vision, spiritual outlook and discernment, nor does it ever wholly satisfy?.
A close reading of recent short stories from Africa will easily reveal the truth of this observation, especially as the continent has simply refused to embrace virtuous spirit of self-regeneration and holiness which should pull it aside from crippling qualities of grimness, sordidness, terrorism, violence, and chaos. Sumaila Umaisha?s Hoodlums (short stories) is a participant ? a witness to these ill-virtues which he particularly anchors on situations in modern Nigeria. The 17 stories in the collection are propelled by a pattern of events which are helplessly pessimistic; they are peopled by those whose penchant in life is largely defined by high dosage of tragic impetus in a worldly full of diverse experiences of loss, grief, inhumanity, murderousness, hatred, and sheer animality.
?Militants?, the first story, is a true reflection of what occurs in the Niger-Delta region of Nigeria. In this environment, violence has become a celebrated culture, even when the people are helplessly gripped by some vengeance mission anchored on the proceeds from oil exploration. The militants were a group of young fellows so desperate to reclaim the land from what they saw as the exploitative antics of an insensitive, violence-loving and marginalising regime. In the confrontational ?business?, bomb explosions were common and breading reality of insecurity and danger to lives, unsparing of even the young inexperience as we see of the 6-year old Tene and her friends. The environment is seized by the ?confused flow of human traffic (which) was so charged with the fear of death that it had no regard for little kids...? (9). The conflicts between the militants and federal troops often led to ?heavy causalities on both sides? (10); kidnappings also easily resulted in this environment of tempest where vehicles ?are driven by jittery hands? and ?the heavy boots of soldiers who were desperately taking positions? (11). Tene, in the midst of this unsettling experience, rushed from school to inform her parents of the unceasing bombs with ?ear-tearing sound even when they are themselves helpless. At that point when mother and child were to embrace in celebration of their eventual coning together, an explosion lifts the mother and smashes her on the ground.
The image of ?thickening clouds of smoke reducing everywhere to a haze of misery? (11) establishes the themes of disorder, chaos, hopelessness and helplessness. The author?s narration is so dramatic and suspenseful. The innocent of Tene is a source of humour; ?...when she got back to school the next day, she and her friends would discuss how the teachers jumped through the windows. They would laugh. They would laugh and laugh...? (10). But there was no guarantee that the teachers and pupils would ever meet in an atmosphere saturated with much violence and tragedy. The narration is brisk and the images are simple.
?After the Riot? is another story which easily reminds the reader of, for example, Wale Okediran?s After the Flood. If the Niger Delta is a world in tension and perpetual chaos, it is no less so in other parts of Nigeria.
Zabi, the chief character, was desperately in search of his family, after returning from farm. He meets a chaotic situation in town, ?with a crowd running from the town ? men, women and children. It was an awful sight. The red light of death was in the eyes of everyone...? (13). Zabi had to disguise as a mad man in order to escape death in the hands of the rioters since their ?target was the sane; those who still had a future...? (13). The blood-letting rioters without any sane ideology, simply beat up their victims till they fell, and then slaughtered them: ?The more a victim pleaded with them the more brutal they become. After slaughtering such a victim they would set the body a blaze...? (13). Homes are set on fire, and ?everywhere was littered with corpses. Some were mutilated while others were burnt beyond recognition...? (14). Zabi could not find his family members among the corpses. But his naivety was exposed when he thought he ?had nothing to do with the contentious difference? obviously anchored on religion. The riots lasted three days and insecurity and destructions covered the land. Zabi?s experience was the type which every other person faced in the environment, an endless search in hospitals, mortuaries, streets, army and police barracks ?where some of the survivors took refuge.? (14). Zabi could not find his family as the ??woman in red? turned out to be a man in blacks safari? (15). He had been pursuing a mirage symbolized by this woman ? a search for emptiness, meaning and sanity. His nakedness symbolises collective grief, uncertainty and insanity. These themes reflect what the society desperately needs, and indicated in Zabi?s own thoughts that whenever he found his family everything would be all right. ?I will buy new clothes for you, the kids and myself and then I will build for us another house, a better house. Believe me, the bad days will be perfectly put behind us...? (15). Zabi is a symbol of that hope that is being searched for in Nigeria because there is an urgent need for recreation and collective sanity. The story is brilliantly narrated and very rich in images and suspense. Zabi the major character is introspective, imaginative, caring, understanding and hopeful. The unseen wife is a symbol of lost dream which must be found. The theme of a search for an ideal situation is orchestrated by the symbolism of nakedness reflecting terrorism, sadism and hopelessness. This story is robust with dramatic energy, vigorous and lucid. There is attention to visual details yet the story is compact and meaningful.
?Hoodlums? is another story which reflects the themes of insanity, violence, disorder and recklessness in society. It is centred on the experience of journalists molested and harassed by security chiefs who believed that the press rather knowingly engineered revolts in Kaduna through their unguided writings on issues of Shari?a (Islamic legal system) and ethnic differences among the people. Ben was the Kaduna Bureau Chief of the New Nation newspaper who was to write a report titled ?Kaduna Riot: 500 people slaughtered?. His editor, also known for his radical perspective, was equally arrested and tortured by the police. Inside the police van, Ben could see rioters and ?the virtual lack of security. The number of policemen and soldiers on the street was obviously too small to cope with the situation. Dead bodies were everywhere...? (26). People were maimed and killed recklessly; family became disunited and the land was one experience in chaos and disorder. A critical reader or witness of situations in Nigeria when the Shari?a legal system was institutionalized by some state governments in the north will easily agree with Umaisha?s depiction of the scenes and events stuffed with sadism, death, cold-blooded murder and loss of sanity. The hoodlums in the story were the battalions of angry, hungry and unemployed young people who often held up to anything to vent their spleen.
A sub-plot in the story is centred on the romantic event between Ben and his girlfriend, Mario. Ben was a medical doctor who found fulfilment in journalism, and he had been encouraged by his friends Ahmed (editor of Frontline newspaper) and his lust for popularity to abandon medical. He had a running battle with his father over the choice of profession which he (his father) felt was too risky and reckless and ?obviously not the right his profession? (21). To the father, journalism was a call to cheap death: ?How many journalists have really made it in this country; all they do is stick out their necks for others and get abject pay for all the trouble or even get killed...? (21).
The theme of the hazards of journalism, the murderous socio-political implication of the introduction of Shari?a which bred ethnic and religious crises, insecurity, violence, police antagonism to the people?s inhumanity and abuse of democracy are neatly interwoven in the experiences of the dangerous encounter between the journalists and police. There is lack of religious tolerance and political peace in the land.
The style of the narration is also beautiful. There are elements of conflicts and drama and the dialogue is most potent especially between Ben and his father, Ben and Mario, and the policemen and the arrested journalists. The narration is easy flowing and there are images of fear, terrorism, haziness, insecurity and brutality on every page. The police also symbolize intolerance, viciousness, irrationality, menace and brutality; they are equally hoodlums. The streets are a symbol of restlessness rudderlessness, incoherence and disorder. There are elements of flashback (Mario?s meeting with Ben at the university), graphic details of events and situations and memorable love scenes.
History is recalled in the reference to Dele Giwa?s murder reflecting a real situation in Nigeria. This is aside from the actuality of the recent Kaduna socio-religious and political riots. There is seriousness of approach and organic unity of the structures in the story. The characterisation is well handled. Ben is a hard working serious-minded, bold, committed, courageous, handsome former medical practitioner and journalist. His is equally bold, audacious and assertive while Mario is a lawyer press-loving, dedicated, principled, loving, calm, caring and understanding female friend to Ben. She is a symbol of love, hope and promise; an inspiring spirit behind Ben?s dedication to his job.
In The Last Hiding Place, Umaisha is still concerned with the experience of violence in a marriage setting. Amelia (aged 34) had fallen in love with Professors Ameh Deen (60-years-old) because of his brilliance and simplicity though he was considered by many as a madman because of his eccentricity. She had refused to be persuaded to abandon him early enough when he proposed marriage; ?She didn?t even bother to put up the usual feminine pretence. She gave the answer to him straight on a golden platter. And just in four months the marriage was conducted.? (33). As the story develops, the reader encounters expanded themes of fear, search for sanity and marital fulfilment, confusion, frustration, agony, loneliness and psychological tremor in both Amelia and the Professor. Professor Ameh Deen confessed to being a ?nocturnal creature.? (36). ?I don?t sleep at night... I walk in the night. I roam the wilderness?. This obviously was an ?abnormal living? which had delayed his marriage plans. In Amelia, he had hoped to ?live a normal life with you for the rest of my life. I thought you were my last hiding place; a soul mate on whom to rest my heart, someone in whom I could hide myself away from the harsh realities of life.? (37). Despite their differences, they still clung to one another in fulfilment, especially because of their similar, artististic obsessions. The themes of the past, demand of creativity, love, confessions, and demands of matrimony are beautifully packaged in the story. There are also subjects of the fear of the unknown, role of personal convictions in choices, and the crucial inspirational impulses propelled by the muses.
The narration is swift and colourful, even detailed. There are flashbacks which solidify the past and the present; as well as conflicts which are resolved in a gentle, calm manner. Suspense is sustained throughout while there are rich images of confusion, chaos, the unknown, fear, loneliness and abnormality. For instance, all Amelia could see ?was solid darkness dotted by blinking fireflies... Her fear rose with every heartbeat. Fear of the night and the deadly possibilities...? (34). Her submissiveness also reflected a good image; ?...Go on being yourself. I will adjust to you. I could even walk with you in the darkest night and in the wildest wilderness, if you so wish...? (38).
The dialogue is rich in its exposition on disappointments, frustration and unease. Confessional statements are made in very subtle manner, thereby aesthetically energizing the story as we see of Amelia?s disclosure that she was a drug addict!
The characterization is also well handled. Amelia was an actress; a bold, daring, forgiving, loving and feelingly sensitive wife while Ameh was a profound writer, thoughtful, restless, a misunderstood man. He was simple, diplomatic and an unusual husband. He was busy searching for fulfilment and happiness not in people, but in his writings.
?The Outcast? is the story of Ilema, a young lady who grew up wondering when to ever see her father though brought up by surrogate ?mother?. Feeling incomplete, she subjected herself to some introspection and self-questioning. When she travelled to Makurdi to ask the ?mother? she was confronted with the story which she had never heard before then; she was picked up from a rubbish dump and adopted by the surrogate mother, who herself had been childless, and treated like an outcast: ?I am an outcast. I was rejected by my people. I was branded a witch and rejected because of my inability to bear a child.... with pain in my heart, I divorced my husband, the fourth one and left home. I left my dear home, Ajiola, for Kaduna. And that was where, Ilema, you came into the pathetic story of my life...? (43).
The themes of the story include dejection, rootlessness, alienation, abandonment, gender crisis, childlessness, discovery and forgiveness as well as the dilemma of a superstitious society. Mummy?s being an outcast was propelled by her childlessness, and it was a rumour-mongering society. The theme of the past as a trap is pathetically treated.
The story bears an avalanche of rhetorical questions especially by Ilema, trying to discover her past; a refreshing quality of suspense and a collection of images one of which is darkness, suggestive of the darkness and uncertainty of Ilema?s past. There are also images of pain, divorce and discomfort; Mummy?s sickness, for instance. ?...her cough ?sounded like a wet rag being yanked apart. She spat. The mucus was bloody. Her face twitched in silent agony as she waited to regain her breath...? (43).
Irony is presented through Ilema who wished to attack the mother but learnt that she actually was responsible for her (Ilema?s) survival. Her ?dark mission? and ?an ominous desolation? were actually propelled by a feeling of anger which should have been an expression of appreciation to a woman who saved her life. The society tradition is ridiculed because it was archaic, backward fear-propelling, wasteful, rumour-inspiring and deeply superstitious. The characterization is good enough. Uncle Adejo was understanding, caring, and supportive. Ilema (18), a student, was deep-thinking, emotionally depressed, curious and fatherless. The mother, a rich, divorced trader, confused, ambitious and emotional. She was a victim of a harsh, superstitious and backward society. The story is rich in pathos and sarcasm. There is coherence and colourful sublimity.
?The King Himself? is the story of a rising bureaucrat who turned mad and occupied a space in the midst of junks in a roundabout, in Kaduna. His madness was bred by hard drug and the antics of a society whose sanity is questionable. His eccentricity, even as a madman with deep and penetrating power was rather curious. Thought the story had started being told through a third person narration, it eventually became the lot of the chief character the King to narrate his own experience. The transition is a superb blend of artistry and craft by Umaisha. In the story, the King found himself assailed in different corners by much uncertainty and immodest characters; he had to live on drugs to capture his sanity. We learnt of a millionaire who killed his wife; the wife was the previous wife of King. Women friends whom he had were equally tempestuous, immoral and irrational.
The narrator had engaged King in dialogue on life and it was discovered that his story was one of ?top civil servant, a politician, a businessman? rolled together. Boastful, arrogant, reckless and power-drunk, he created a game of violence, propagated by his secretary, against all visitors to his office. He was regarded as a madman by everyone. His eccentricity and wild manners became hardened by his spirit of lust and love for drugs.
One of the key elements in the story is its humour. He said he was living in a palace but it ?was an upturned canoe. It was the filthiest of all the junks; it was smeared with shirt and something like dry blood?. He ordered the visiting journalist to sit and his philosophy was grafted on upturning all that was indecent. For instance, he said; ?I?ve never seen a millionaire who is not mad one way or the other? (48).
The dialogue is a catalogue of dramatic expressions oiled with selfish, haughty mien. The insane man had a lot of wisdom in him as well as being exposed to a wealth of information; and the discussion between him and the journalist and also his secretary revealed a mind that is sane even when the body is something else. The setting of his former office was a mad environment where sexuality, wildness, recklessness, violence and hatred were propagated.
The narration reveals a story with themes of madness, social recklessness, immorality and violence, yet all these are anchored on the absurd mentality expressed through grimness, tragedy, hopelessness and death-wish. Such stories are loaded like, for instance, Gbadamosi?s Sunset Over Nairobi. The past is often littered with other broken tales, interior monologues, criminally-induced passions, endless puzzles, rough ambitions, suicide-mission, complexity, bewilderment, frustrated hopes and jungle wisdom. In language, expressions bear the stamp of confused thoughts, wild actions and ignoble enthusiasms.
There is a subtle criticism of the task force in this story and also of official arrogance, corruption, power drunkenness. Every character has a trace of madness because the society admires sadism, irrationality and confusion. There are elements of irony, sarcasm, drama and excursions into the characters? psyches. The characterizing is also plausible. The King is authoritative, informed and feels himself sane. His language ironically shows a mastery of situations. His wife is a drunken, viciously reckless, violent and shameless mother of four. The secretary is irrational, tempestuous and dubious, just as Viva, the visitor. The millionaire who killed his wife is madly angry; his wife is questionably immoral. The society is a sick one, giving birth only to the sick.
In ?The Forbidden Path?, the story is centred on an old woman in a traditional society (Irebu) in Edah clan, who is regarded as a witch by virtue of the power of the clairvoyance and who, in the past, successfully dared what was considered a desecration. It is a world of deep mystery because the society itself is ancient in its ways; the people are highly superstitious; the young ones who leave the village often refuse to return for fear of getting killed. Tradition, especially belief in witchcraft, still prevails; people do not trust one another. Native festivals like the Ogani festival are still celebrated, there are sacred places where women cannot go and masquerading is often in performance. The society is not modern, and mutual suspicions are rife.
Onkwo, the old woman, is therefore a symbol of tradition not properly understood ? deep, mysterious, bizarre and frightening. There is lack of modernity and the fear of tradition. Life is not to be easily understood by the young, and this makes it impossible for them to effect any change. The old woman here dissolves in the river because she commanded unusual powers of mystery.
Most African societies are known for such unusual people and happenings, yet development has become so difficult to introduce. The work is a satire on this reality, especially since the young fear to change anything contrary to tradition.
The symbols are well used. Onkwo is a living tradition threatening the development of modernity. The owl is a symbol of deep, unknown mystery. The river may be the source of life but it is also of death and uncertainty. The diction is folkloric ? references to ?forbidden path?, ?the journey towards the river?, ?the incident of moving star?, ?priest taking the path?, etc.
The linguistic world is drenched in references to communality, festivities, witchcraft and the guiding spirit of the clan... (56).
This mystery conjures poetic exercise from the author; ?The deafening silence... moving into a whirl of nostalgia; a distant song, awesome, mournful, forbidden? (56). This is part of the folkloric experience as the use of language in the traditional societies is often rich in riddles, proverbs and poetry. The narration is swift ? moving.
?Seat of power? is biting a satire on misgovernance, exploitation, graft corruption, intolerance, injustice, mismanagement of resources and socio-political discretions. There are also themes of insecurity, hypocrisy, materialism, insensitivity, arrogance and cultism as the reader goes through the voice of Sa?eed, the ruler, who gave out the impression that he was a successful ruler and achiever until he met his friend, Shamna. The Kingdom (Huzau) was thought to have advanced technologically, especially with the illusionary emergence of ?a special micro device which, when swallowed, lasted a lifetime...? (59) and ?thought-control device or the special audiovisual phone? (59) among others. The unusually vast kingdom with ?thousands of ministerial heads? (58), and Sa?eed was indeed ?crowned as the 4000th king...?
It was a world of grand illusion; empty achievements and self-deceptive progress; land of godlessness and false paradise. Shamna, the radical and former friend to Sa?eed, paid visit and upon his act of criticism of the leadership, clamped in the seaside resort (prison) for 50 years ?to cure him of what I considered to be a malady resulting from his 2000 years of wandering? (64). Ironically, the prison, according to King Sa?eed, was ?not a prison in the real sense of the word... It was a sort of paradise established for the purpose of taming radicals who asked too many questions about the affairs of the kingdom... (64). When Shamna regained freedom, he perpetuated his progressive criticism of the regime and the conflicts became obvious until ?a giant spider? came on the scene and effected change in the leadership.
The story is unusual in its societal time and references, size of kingdom and its ministerial programmes, its prisons and claims of achievements. Rich in ironies, sarcasms, and exaggerations, the narration is swift, interesting and humour-endowed. The satire is simply on irresponsible, delusive leadership in Africa where sit-tightism, greed, pride, and insensitivity are the order of the day.
The first person narrative style (we hear Sa?eed mostly) shows the level of self-indictment, foolishness, hollowness, brutality and grandiose obscenity, all of which were pointed out by Shamna. Much creativity and imagination went into this work which is rich in suspense as well as sense of place and setting. The symbol are also well-placed; the land is itself a prison; ?giant spider? is a military coup d?état led by a defiant man; unidentified object refers to Shamna who was poor, progressive- minded and radically disposed but looked down upon by the proud leader Sa?eed; and the reference to ?4000th King to rule for 300 years? satirises the sit-tight culture of leaders who dream of living for ever on the throne.
The story recalls the events of or Orwell?s 1984 and depicts the ironic richness of Jonathan Swift. It is a mockery of religious insensitivity, false glamour, impotent leadership, false value and senseless imprisonments in an upturned world, where leaders are always day-dreaming. It is anchored on magical realism with all the detailed unusualness.
?The godfather? is another story whose themes centre on exposing political rascality, selfishness, pride and arrogance, disregard for the masses and manipulation of power, the kind which prevails in most African countries today. Chief (Dr) Odaudu Okpotu and Chief Iban were birds of the same feather; rascals and political nitwits who use money to manipulate elections, pollute power and selfishly impoverish the land. They functioned through ?impeccable rigging styles? (70), ?ability to sound convincing to the electorate even if one didn?t mean a word of one?s promises?, ?bloodshed that attended election,? carefully monitored appointments and award of contracts, and sponsorship of candidates to serve their selfish reasons.
They also kill, maim, rape and launch violence everywhere. Obata is eventually killed by the Godfather who had sponsored his mayoral elections and in order to destroy the political interest of his close rival, Chief Iban. ?The Godfathers? created a regime of terrorism in the land; weapons ranging from knives to sophisticated fire arms also came into play. Every campaign rally end up in loss of lives and property as political thugs from rival parties clash. The story is commonplace especially in Nigeria where godfatherism is much on display.
There is a lot of irony, sarcasm and suspense in the narration. The dialogue is rich and strong, and blends fruitfully with the characterization. Conflicts dominate the narration as well as well-managed narrative style. The system brought out is one of evil, reckless murderousness and lack of respect for the human dignity.
?The Magic? is built on the encounters between Malam Sanda (a spiritualist) and Bologi (a leader). The charm previously given to Bologi for success was destroyed by his child, unknowingly. He has to seek out the new abode of the spiritualist to renew same. In the process, he discovers that the charm is not what was working for him, but the simple philosophy taught him by the spiritualist; ?Keep it in your box. Then keep close to God and be good to everyone, including those who appear to be unfriendly to you. And work hard. These are the conditions one under which the charm will work...? (78). Bologi is shocked to realise that what he was actually spiritually searching for should be part the morality which he should adopt to guide himself.
There is action and movement in the story, like with most in the collection. There is suspense and irony because what a leader needs are not charms and amulets but good work, honesty, sincerity, focus and self-discipline. Leaders have no reason to visit pain on their people. The moral direction of the story is anchored on this philosophy.
Malam Sanda symbolises the voice of morality and decency. Bologi?s search is a search for vanity and emptiness when the solution to his quest is to be found in his style of living. Another feature of the story is its dialogue ? enervating and well-placed. Equally, the themes of fear, self-discovery, enlightenment, and discovered morality are well integrated, though not much of narration takes place in the story.
There is humour at its conclusion, and the psychological diagnosis of Bologi has a good effect on the story. Also, the use of known places like Bida, Minna, Kontagora and Agaie adds spice to the actualization of its setting.
In ?Soul Mate?, the story of Lilian, former drunken cigar-smoking prostitute is pursued as she faced the iron bangs of life, moving in search of fulfilment in disco halls and in arms of men. Her experiences were disappointing, harsh and brutal in their frustrating effects, until eventually she falls in love with a medical doctor. The themes of loneliness, frustration and hopelessness are pushed through her; ?...a state of lingering grief and loneliness resulting from the sudden death of her parents, killed in one of the perennial ethno-religious conflicts in the city...? (83).
She is a victim of sadism and senseless clashes; her love life is hollow and scandalous. In Bulus, she finds fulfilment and love, and this expands into the theme of reconciliation.
The story is rich in pathos and dramatic value; suspense lifts its message to a level of deep empathy, especially the wild experiences of Lilian. There is irony, as well as images of lust, frustration, lifelessness, loneliness and grief.
The two main characters are Lilian (searching for meaning and relevance) and Bulus (considerate, supportive, understanding and good-hearted young man). The narration is beautiful, especially as the reader moves with Lilian on the streets, and through the Rockview Hotel.
In ?The Honourable Minister?, ?Umaisha satirically treats the story of the impotence of power and the falsehoods, indiscipline, hypocrisy of the leaders found in Jawan. These ill-virtues are projected through drama by the drama group of the Federal Government college, Jawan, right before a large audience, including ?the Honourable Minister of Information? (87) at a special contest organized by the First Lady of the state to mark the nation?s independence anniversary...?
The drama turned out to be a reflection of the hollowness of power. The characters here are the actors and actresses, voicing out the dilemma of leadership, for instance; ?What is power without a screaming siren?? (89). The characters are played by the Honourable Minister, permanent secretary and entourage. It is one of the deepest-cutting satires in the collection, especially its lampoons and humour. The ?characters? are fearful, lousy, corrupt, greedy, siren-loving, reckless and selfish. Most times, African leaders pronounce on projects to which they attach no significance as we see of National Poverty Eradication Programme, National Reorientation Agency, and ?a panel of inquiry to investigate the misappropriation of two billion naira meant for some federal civil service pensioners...? (89). The leaders fail to provide boreholes, education, electricity and lifesaving solutions to poverty, yet they claim to have achieved so much. The Minister told the audience in the drama that even electricity poses no problem any further; and that is the point light goes off.
The drama is self-revealing and strongly satirical. Not much of narration occurs here, but the characterization is good. The Minister, permanent secretary, First Lady and entourage are hollow-brained, deceptive, pretentious and ignoble. Irony is implied in their presence at the performance where they are confronted with the truth. There is audacious creativity and authenticity in the story.
In ?The Black Cat?, the old woman experiences an unusual unity with a black cat in her life of loneliness, alienation, grief, poverty, helplessness and painful memory of the past. She feels unwanted and abandoned in the city where she sells ?cola nuts and cigarettes? and later returns to the home she had abandoned over 20 years before. She then meets emptiness, poverty and most of her family members are dead. She lives in a ?dilapidated house?, the ?only legacy left behind by her father. Whenever she is not in front of the house selling cola nuts and cigarettes or in the parlour praying, she is staring at the cat?s eyes in the dark room...? (93). In her unusual association with the cat, she feels a sense of triumph; she is able to make mini-astral travels which expands her vision ?and her consciousness becomes limitless. Her range of vision becomes boundless, enabling her to see everywhere and any particular place simultaneously. She can see through anything. No barrier is thick enough to obstruct her view. Her perception is penetrating, comprehensive and infinite.? (94). She feels uplifted by the experience; the world she found for herself is ?exciting and real, there are no shadows to be chased no secrets, no mystery, but plain reality.? (94).
Through her, the themes of self-discovery through ?the hidden treasures of this world? (95) is projected. She is able to triumph over the surrounding limitations and physical weakness. The cat is a symbol of her exercise in self-peace and vision; she becomes a prophetic figure in her own world. The cat assists her to discover her innate power, which is why ?...the black cat wasn?t just a black cat; it was her past, present and future, her source of strength in her gradual transition to the unknown...? (92). Indeed, ?By merely staring at its spooky eyes she could relive her life. The cat was hope symbolised...? (92).
Ironically, the poor physical environment is not a source of limitation to her but a tool for self-discovery. Even then, she needed the poetic trips into a higher consciousness only temporarily, for she must return to the level of humanity after sometime: ?Suddenly she is in a whirlwind... solid form...? (95). The narration itself is poetically packaged and it is rich in suspense and dramatic unusualness.
?The President?s Portrait? is another satire on the ugliness of leadership and this is a rear work of art. Amedu, the artist, spent years creating the beautiful portrait of the national president, until his wife (Mama Alima) and daughter (Alima) criticized him for making too much of the portrait. The criticism makes him caution himself on the leader who turns out to be a master rigger of elections and corrupt. Though the finished portrait was to be presented on the inauguration day and on his 100th day in office the event could not hold, yet Amedu would keep jostling it and ?applying fresh colours?, acting like one possessed.? (97).
After the third year, Mama Alima is to see the portrait when it falls down, ?knocking down tins of colours...? it was ?like the smear of blood and rotten eggs.? (98). Instead of being angry, Amedu laughed and said: ?This is perfect... You have won the prize!?
The story is satiric in its portrayal of the leader as today, unattractive, rotten, ugly and wasteful. The ugly image of the colour-drenched portrait helps to establish this. The story is attractive also for its dramatic quality as well as suspense, and the characters are lucidly presented. Amedu is hardworking, focused and thorough, but he is less observant and sensitive like the wife and daughter. Irony is implied in what becomes of a portrait meant to honour the leader! The diction ? like with other stories ? is simple and the free flowing narrative skills of the author cannot be doubted. The elements of humour are neatly woven with that of seriousness, and the product is on aesthetic beauty.
?The Riot? is another story, which reflects the pathetic culture of violence, disorder and chaos in modern Africa. Alhaji Ibrahim trains his binoculars to capture the event of the riot happening in the ?ghetto areas of the city? caused by increased fuel prices to which he has given his support for selfish reasons: ?He knew people would rise in protest, knowing it would push them further down the pit of poverty. But he supported it because it would extend the chain of his companies...? (100).
Ibrahim has friends like himself perpetuating the criminality, especially Chief Emeka and they use their closeness to the Inspector General of Police to advantage even when they know that no machinery ever works in the country! Ibrahim and his friends belong to the exploiter class ? selfish, mischievous, notoriously arrogant, brutal and exploitatively manipulative. ?...They discussed the possibility of gaining from the riot. Contrasts for the reconstruction of the public structures damaged. Contracts for the supply of relief materials. Contracts for public enlightenment to avert future violence...? (101). Though enjoying his discussions with his friends, Ibrahim?s wife is eventually killed in her vehicle.
The plot is linear and beautiful and there is attractive air of suspense, drama and irony. Images of violence, chaos, death, and danger are splashed out in the story. The distance between the rich and the poor is equally established. The dialogue is quite illustrative of this difference, especially the conversational process on phone. Tragedy awaited Ibrahim who has been in his sitting room in his four-storey mansion and engaged in ?a violent scream.? (101). The man with a fleet of fifteen cars who loved to oppress the poor is shocked when he discovers that the car has at its back seat, ?the body of his wife.? (102).
In the ?Roadblock?, the story is told of a commercial driver called Habila (alias Well-meaning Nigerian) who has devised a strategy to destroy the extortion policy of the police on the road even as the Inspector-General of Police has ordered ?the withdrawal of his men from checkpoints...? (103). Roadblock has been known to be venues for corruption and exploitation, and the drivers celebrated when these were removed. Habila?s strategy is in what he calls ?half-twenty, half-twenty naira secret?(104) in which he always tears N20 note by half, giving half to the police to ridicule their flare for extortion and criminality. But while the roadblock could be abused by police, armed robbers could also turn them to avenues of attack as suffered by Habila on a trip between Kaduna and Abuja.
The satire is punchy because there is no difference between the police and the robbers. The criticism of the social system is subtly presented through ironies and humour and the events of the story are carefully woven through intricate collection of words and sentences. Habila is the symbol of drivers who experience problems in the hands of ?security? officers who often refuse to do their work. Conflicts and coincidences are carefully blended with details of the narration.
In ?Do or Die!? (a common negative aphorism among Nigerian politicians), the story is about politicians seeking to eliminate one another shortly before an election. In the process the chief thug, Saleh, alias Kill-and-go, has to plan on both of them (Senator Abu Danbo and Alhaji Hamza) in order to attract more money to himself.
The themes of greed, graft, hypocrisy, electoral manipulation, fraud, murderousness, blackmail, mischief and lust for blood are projected through them. Even when politicians donate boreholes or infrastructure (as done by Hamza), it is to pursue selfish ends and not because they love the people. Elections are rigged; intimidation of rivals takes on different, dangerous dimensions, the tribunals are rendered useless, thuggery and violence are played out and security men are employed to service wicked electoral programmes. The politicians never ever plan good roads, water, electricity and transport network for people in the constituencies.
Dembo, a senator, turns his constituency office to ?a campaign centre than machinery for collating and channelling people?s opinions for legislative decisions...? (108) and he believes that ?...the elimination of Alhaji Hamza was the only guarantee to his winning the election.? (108). The party system is corrupt; politicians are insincere and immoral; they spread terrible lies amongst people.
The story is rich in ironies as Kill-and-Go, their main ?machinery? for thuggery, cheated on the politicians. The narration is careful in exposing the dimensions of political criminality in the land; there is suspense and dramatic quality. Dambo and Hamza are of similar characteristic ? dangerous, wicked, mischievous, corrupt and ruthless, just like kill-and-Go. There are images of danger, frustration and deep ruthlessness. The third person narration, conflict and viable sense of place and setting conspire to give colour and authenticity to the story.
Hoodlums easily refreshes the reader?s mind on the gory situation in Africa today, a continent of horrors, violence, electoral manipulations, exploitation, fraud, leadership complexities, selfishness, criminality, murderousness and religious and social impotence, as we also find in the richly-endowed short fiction of Gbadamosi, Gimba, Dzukogi, Sheme, Ajaegbo Attah, Alkali, Onyeama, Lamikanra, Razinat Mohammed, Adebowale, Adewale-Gabriel and Ojaide, to mention a few.
- Hoodlums: A Template Of Pain
Review of Sumaila Umaisha?s Hoodlums written and presented by Dr. Emman Usman Shehu, Director, International Institute of Journalism and President of Abuja Writers Forum, at the public presentation of the book in Abuja on 21st July, 2011. Sumaila...
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