V S NAIPAUL
V.S. Naipaul, in full Sir Vidiadhar Surajprasad Naipaul, (born August 17, 1932, Trinidad—died August 11, 2018, London, England), Trinidadian writer of Indian descent known for his pessimistic novels set in developing countries. For these revelations of what the Swedish Academy called “suppressed histories,” Naipaul won the Nobel Prize for Literature in 2001.
Descended from Hindu Indians who had immigrated to Trinidad as indentured servants, Naipaul left Trinidad to attend the University of Oxford in 1950. He subsequently settled in England, although he traveled extensively thereafter. His earliest books (The Mystic Masseur, 1957; The Suffrage of Elvira, 1958; and Miguel Street, 1959) are ironic and satirical accounts of life in the Caribbean. His fourth novel, A House for Mr. Biswas (1961), also set in Trinidad, was a much more important work and won him major recognition. It centres on the main character’s attempt to assert his personal identity and establish his independence as symbolized by owning his own house. Naipaul’s subsequent novels used other national settings but continued to explore the personal and collective alienation experienced in new nations that were struggling to integrate their native and Western-colonial heritages. The three stories in In a Free State (1971), which won Britain’s Booker Prize, are set in various countries; Guerrillas (1975) is a despairing look at an abortive uprising on a Caribbean island; and A Bend in the River (1979) pessimistically examines the uncertain future of a newly independent state in Central Africa. A Way in the World (1994) is an essaylike novel examining how history forms individuals’ characters. Naipaul’s other novels include The Mimic Men (1967) and The Enigma of Arrival (1987).
Among Naipaul’s nonfiction works are three studies of India, An Area of Darkness (1965), India: A Wounded Civilization (1977), and India: A Million Mutinies Now (1990); The Five Societies—British, French, and Dutch—in the West Indies (1963); and Among the Believers: An Islamic Journey (1981). Naipaul was knighted in 1989.
In 1998 he published Beyond Belief: Islamic Excursions Among the Converted Peoples, a portrayal of the Islamic faith in the lives of ordinary people in Iran, Pakistan, Indonesia, and Malaysia. Half a Life (2001) is a novel about an Indian immigrant to England and then Africa. He becomes “half a person,” as Naipaul has said, “living a borrowed life.” Released the year that Naipaul received the Nobel Prize, Half a Life was considered by many critics to illustrate beautifully the reasons that he won the prize. Subsequent works include The Writer and the World (2002) and Literary Occasions (2003), both collections of previously published essays. The novel Magic Seeds (2004) is a sequel to Half a Life. In The Masque of Africa (2010)—which was based on his travels in Côte d’Ivoire, Gabon, Ghana, Nigeria, Uganda, and South Africa—Naipaul returned to his exploration of religion, focusing on African beliefs.
V.S. Naipaul, in full Sir Vidiadhar Surajprasad Naipaul, (born August 17, 1932, Trinidad—died August 11, 2018, London, England), Trinidadian writer of Indian descent known for his pessimistic novels set in developing countries. For these revelations of what the Swedish Academy called “suppressed histories,” Naipaul won the Nobel Prize for Literature in 2001.
Descended from Hindu Indians who had immigrated to Trinidad as indentured servants, Naipaul left Trinidad to attend the University of Oxford in 1950. He subsequently settled in England, although he traveled extensively thereafter. His earliest books (The Mystic Masseur, 1957; The Suffrage of Elvira, 1958; and Miguel Street, 1959) are ironic and satirical accounts of life in the Caribbean. His fourth novel, A House for Mr. Biswas (1961), also set in Trinidad, was a much more important work and won him major recognition. It centres on the main character’s attempt to assert his personal identity and establish his independence as symbolized by owning his own house. Naipaul’s subsequent novels used other national settings but continued to explore the personal and collective alienation experienced in new nations that were struggling to integrate their native and Western-colonial heritages. The three stories in In a Free State (1971), which won Britain’s Booker Prize, are set in various countries; Guerrillas (1975) is a despairing look at an abortive uprising on a Caribbean island; and A Bend in the River (1979) pessimistically examines the uncertain future of a newly independent state in Central Africa. A Way in the World (1994) is an essaylike novel examining how history forms individuals’ characters. Naipaul’s other novels include The Mimic Men (1967) and The Enigma of Arrival (1987).
Among Naipaul’s nonfiction works are three studies of India, An Area of Darkness (1965), India: A Wounded Civilization (1977), and India: A Million Mutinies Now (1990); The Five Societies—British, French, and Dutch—in the West Indies (1963); and Among the Believers: An Islamic Journey (1981). Naipaul was knighted in 1989.
In 1998 he published Beyond Belief: Islamic Excursions Among the Converted Peoples, a portrayal of the Islamic faith in the lives of ordinary people in Iran, Pakistan, Indonesia, and Malaysia. Half a Life (2001) is a novel about an Indian immigrant to England and then Africa. He becomes “half a person,” as Naipaul has said, “living a borrowed life.” Released the year that Naipaul received the Nobel Prize, Half a Life was considered by many critics to illustrate beautifully the reasons that he won the prize. Subsequent works include The Writer and the World (2002) and Literary Occasions (2003), both collections of previously published essays. The novel Magic Seeds (2004) is a sequel to Half a Life. In The Masque of Africa (2010)—which was based on his travels in Côte d’Ivoire, Gabon, Ghana, Nigeria, Uganda, and South Africa—Naipaul returned to his exploration of religion, focusing on African beliefs.
VS Naipaul, Nobel prize-winning British author, dies aged 85 | Books | The Guardian
https://www.theguardian.com/books/2018/aug/11/vs-naipaul-nobel-prize-winning-british-author-dies-aged-85
https://www.theguardian.com/books/2018/aug/11/vs-naipaul-nobel-prize-winning-british-author-dies-aged-85
the Guardian
VS Naipaul, Nobel prize-winning British author, dies aged 85
Trinidad-born author won both acclaim and disdain for his caustic portrayals, in novels and non-fiction, of the legacy of colonialism
Wole Soyinka
Akinwande Oluwole "Wole" Babatunde Soyinka (born 13 July 1934) is a Nigerian playwright, poet and essayist. He was awarded the 1986 Nobel Prize in Literature, the first African to be honoured in that category. He took an active role in Nigeria's political history and its struggle for independence from Great Britain. In 1965, he seized the Western Nigeria Broadcasting Service studio and broadcast a demand for the cancellation of the Western Nigeria Regional Elections. In 1967 during the Nigerian Civil War, he was arrested by the federal government of General Yakubu Gowon and put in solitary confinement for two years. In December 2017, he was awarded the Europe Theatre Prize in the "Special Prize" category awarded to someone who has “contributed to the realisation of cultural events that promote understanding and the exchange of knowledge between peoples”.
His first major play, The Swamp Dwellers (1958), was followed a year later by The Lion and the Jewel, a comedy that attracted interest from several members of London's Royal Court Theatre. Encouraged, Soyinka moved to London, where he worked as a play reader for the Royal Court Theatre. During the same period, both of his plays were performed in Ibadan. They dealt with the uneasy relationship between progress and tradition in Nigeria.
In 1957, his play The Invention was the first of his works to be produced at the Royal Court Theatre. At that time his only published works were poems such as "The Immigrant" and "My Next Door Neighbour", which were published in the Nigerian magazine Black Orpheus. This was founded in 1957 by the German scholar Ulli Beier, who had been teaching at the University of Ibadan since 1950.
Upon his return to Nigeria, he founded an acting company and wrote his first important play, A Dance of the Forests (produced 1960; published 1963), for the Nigerian independence celebrations. The play satirizes the fledgling nation by stripping it of romantic legend and by showing that the present is no more a golden age than was the past.
He wrote several plays in a lighter vein, making fun of pompous, Westernized schoolteachers in The Lion and the Jewel (first performed in Ibadan, 1959; published 1963) and mocking the clever preachers of upstart prayer-churches who grow fat on the credulity of their parishioners in The Trials of Brother Jero (performed 1960; published 1963) and Jero’s Metamorphosis (1973). But his more serious plays, such as The Strong Breed (1963), Kongi’s Harvest (opened the first Festival of Negro Arts in Dakar, 1966; published 1967), The Road (1965), From Zia, with Love (1992), and even the parody King Baabu (performed 2001; published 2002), reveal his disregard for African authoritarian leadership and his disillusionment with Nigerian society as a whole.
Other notable plays include Madmen and Specialists (performed 1970; published 1971), Death and the King’s Horseman (1975), and The Beatification of Area Boy (1995). In these and Soyinka’s other dramas, Western elements are skillfully fused with subject matter and dramatic techniques deeply rooted in Yoruba folklore and religion. Symbolism, flashback, and ingenious plotting contribute to a rich dramatic structure. His best works exhibit humour and fine poetic style as well as a gift for irony and satire and for accurately matching the language of his complex characters to their social position and moral qualities.
He wrote several plays in a lighter vein, making fun of pompous, Westernized schoolteachers in The Lion and the Jewel (first performed in Ibadan, 1959; published 1963) and mocking the clever preachers of upstart prayer-churches who grow fat on the credulity of their parishioners in The Trials of Brother Jero (performed 1960; published 1963) and Jero’s Metamorphosis (1973). But his more serious plays, such as The Strong Breed (1963), Kongi’s Harvest (opened the first Festival of Negro Arts in Dakar, 1966; published 1967), The Road (1965), From Zia, with Love (1992), and even the parody King Baabu (performed 2001; published 2002), reveal his disregard for Af
Akinwande Oluwole "Wole" Babatunde Soyinka (born 13 July 1934) is a Nigerian playwright, poet and essayist. He was awarded the 1986 Nobel Prize in Literature, the first African to be honoured in that category. He took an active role in Nigeria's political history and its struggle for independence from Great Britain. In 1965, he seized the Western Nigeria Broadcasting Service studio and broadcast a demand for the cancellation of the Western Nigeria Regional Elections. In 1967 during the Nigerian Civil War, he was arrested by the federal government of General Yakubu Gowon and put in solitary confinement for two years. In December 2017, he was awarded the Europe Theatre Prize in the "Special Prize" category awarded to someone who has “contributed to the realisation of cultural events that promote understanding and the exchange of knowledge between peoples”.
His first major play, The Swamp Dwellers (1958), was followed a year later by The Lion and the Jewel, a comedy that attracted interest from several members of London's Royal Court Theatre. Encouraged, Soyinka moved to London, where he worked as a play reader for the Royal Court Theatre. During the same period, both of his plays were performed in Ibadan. They dealt with the uneasy relationship between progress and tradition in Nigeria.
In 1957, his play The Invention was the first of his works to be produced at the Royal Court Theatre. At that time his only published works were poems such as "The Immigrant" and "My Next Door Neighbour", which were published in the Nigerian magazine Black Orpheus. This was founded in 1957 by the German scholar Ulli Beier, who had been teaching at the University of Ibadan since 1950.
Upon his return to Nigeria, he founded an acting company and wrote his first important play, A Dance of the Forests (produced 1960; published 1963), for the Nigerian independence celebrations. The play satirizes the fledgling nation by stripping it of romantic legend and by showing that the present is no more a golden age than was the past.
He wrote several plays in a lighter vein, making fun of pompous, Westernized schoolteachers in The Lion and the Jewel (first performed in Ibadan, 1959; published 1963) and mocking the clever preachers of upstart prayer-churches who grow fat on the credulity of their parishioners in The Trials of Brother Jero (performed 1960; published 1963) and Jero’s Metamorphosis (1973). But his more serious plays, such as The Strong Breed (1963), Kongi’s Harvest (opened the first Festival of Negro Arts in Dakar, 1966; published 1967), The Road (1965), From Zia, with Love (1992), and even the parody King Baabu (performed 2001; published 2002), reveal his disregard for African authoritarian leadership and his disillusionment with Nigerian society as a whole.
Other notable plays include Madmen and Specialists (performed 1970; published 1971), Death and the King’s Horseman (1975), and The Beatification of Area Boy (1995). In these and Soyinka’s other dramas, Western elements are skillfully fused with subject matter and dramatic techniques deeply rooted in Yoruba folklore and religion. Symbolism, flashback, and ingenious plotting contribute to a rich dramatic structure. His best works exhibit humour and fine poetic style as well as a gift for irony and satire and for accurately matching the language of his complex characters to their social position and moral qualities.
He wrote several plays in a lighter vein, making fun of pompous, Westernized schoolteachers in The Lion and the Jewel (first performed in Ibadan, 1959; published 1963) and mocking the clever preachers of upstart prayer-churches who grow fat on the credulity of their parishioners in The Trials of Brother Jero (performed 1960; published 1963) and Jero’s Metamorphosis (1973). But his more serious plays, such as The Strong Breed (1963), Kongi’s Harvest (opened the first Festival of Negro Arts in Dakar, 1966; published 1967), The Road (1965), From Zia, with Love (1992), and even the parody King Baabu (performed 2001; published 2002), reveal his disregard for Af
rican authoritarian leadership and his disillusionment with Nigerian society as a whole.
Other notable plays include Madmen and Specialists (performed 1970; published 1971), Death and the King’s Horseman (1975), and The Beatification of Area Boy (1995). In these and Soyinka’s other dramas, Western elements are skillfully fused with subject matter and dramatic techniques deeply rooted in Yoruba folklore and religion. Symbolism, flashback, and ingenious plotting contribute to a rich dramatic structure. His best works exhibit humour and fine poetic style as well as a gift for irony and satire and for accurately matching the language of his complex characters to their social position and moral qualities.
Other notable plays include Madmen and Specialists (performed 1970; published 1971), Death and the King’s Horseman (1975), and The Beatification of Area Boy (1995). In these and Soyinka’s other dramas, Western elements are skillfully fused with subject matter and dramatic techniques deeply rooted in Yoruba folklore and religion. Symbolism, flashback, and ingenious plotting contribute to a rich dramatic structure. His best works exhibit humour and fine poetic style as well as a gift for irony and satire and for accurately matching the language of his complex characters to their social position and moral qualities.
The word "malapropism" (and its earlier variant "malaprop") comes from a character named "Mrs. Malaprop" in Richard Brinsley Sheridan's 1775 play The Rivals.
According to the Oxford English Dictionary, the first recorded use of "malapropos" in English is from 1630, and the first person known to have used the word "malaprop" in the sense of "a speech error" is Lord Byron in 1814.
The synonymous term "Dogberryism" comes from the 1598 Shakespeare play Much Ado About Nothing in which the character Dogberry utters many malapropisms to humorous effect.
The synonymous term "Dogberryism" comes from the 1598 Shakespeare play Much Ado About Nothing in which the character Dogberry utters many malapropisms to humorous effect.
In this audio I tell you how I made my notes in my books and other study material, how to make notes of summaries and how to take down notes from the internet.
Ama Ata Aidoo
Ama Ata Aidoo (born 23 March 1942, Saltpond), is a Ghanaian author, poet, playwright and academic. She was also a Minister of Education in Ghana under the Jerry Rawlings administration. She currently lives in Ghana, where in 2000 she established the Mbaasem Foundation to promote and support the work of African women writers.
After leaving high school, she enrolled at the University of Ghana in Legon and received her Bachelor of Arts in English as well as writing her first play, The Dilemma of a Ghost, in 1964. The play was published by Longman the following year, making Aidoo the first published African woman dramatist.
Aidoo's works of fiction particularly deal with the tension between Western and African world views. Her first novel, Our Sister Killjoy, was published in 1977 and remains one of her most popular works. Many of Aidoo's protagonists are women who defy the stereotypical women's roles of their time, as in her play Anowa. Her novel Changes won the 1992 Commonwealth Writers' Prize for Best Book (Africa). She is also an accomplished poet—her collection Someone Talking to Sometime won the Nelson Mandela Prize for Poetry in 1987—and has written several children's books.
She contributed the piece "To be a woman" to the 1984 anthology Sisterhood Is Global: The International Women's Movement Anthology, edited by Robin Morgan. In 2000 she founded the Mbaasem Foundation, a non-governmental organization based in Ghana with a mission "to support the development and sustainability of African women writers and their artistic output", which she runs together with her daughter Kinna Likimani and a board of management. Aidoo is the editor of the 2006 anthology African Love Stories.
Our Sister Killjoy is about a young African woman named Sissie who goes to Europe to "better" herself (with European education) as described by her African counterparts. The novel revolves around themes of black diaspora and colonialism, in particular colonization of the mind. Sissie observes the other Africans who have emigrated (also for education and the desire for a better life in Europe) and sees them as "sell-outs" who have forgotten their culture and their motherland. Aidoo touches on the effects of post-colonialism and how the traditions and thoughts of the colonizer are instilled into the minds of the colonized. Sissie in the novel represents the need to have a connection to one's past. Aidoo is critical of Africans' adulation of Europeans. The first thing Sissie notices upon going into the town in Germany are shiny and glittery material possessions. Aidoo critiques the way some Africans buy into the notion of white superiority, by turning to Europe when they are looking for the "best," whether in education or material possessions. The orientation toward Europe and the investment in whiteness begins in Africa and continues and is reinforced when Africans migrate to Europe. After colonialism, places such as Ghana and Nigeria are left with European institutions and frameworks and they continue to operate within them post-independence. Aidoo positions "Our Sister" as a radical to stand in strong opposition to those black people whose minds do not seem to be filled with thoughts of their own, such as Sammy, the first black person we are introduced to other than Our Sister. While in Germany Sissie befriends Marija. Although speaking different languages, they build a strong understanding. As Sissie's time in Germany nears an end, Marija makes a pass at her. Sissie has mixed emotions, never having been attracted to a woman before, and it makes her think deeply on same-gendered relationships. Later in the novel, Sissie goes to England and is surprised at the number of Africans she sees. She is shocked at their "wretched living conditions"; they live in basement flats and wear ugly, worn-in clothing. Sissie is shocked at the women who, had they been in Africa, would have worn the most beautiful, luxurious clothing, and have now ruined their own beauty. Sissie describes their position in England as "running very fast just to rema
Ama Ata Aidoo (born 23 March 1942, Saltpond), is a Ghanaian author, poet, playwright and academic. She was also a Minister of Education in Ghana under the Jerry Rawlings administration. She currently lives in Ghana, where in 2000 she established the Mbaasem Foundation to promote and support the work of African women writers.
After leaving high school, she enrolled at the University of Ghana in Legon and received her Bachelor of Arts in English as well as writing her first play, The Dilemma of a Ghost, in 1964. The play was published by Longman the following year, making Aidoo the first published African woman dramatist.
Aidoo's works of fiction particularly deal with the tension between Western and African world views. Her first novel, Our Sister Killjoy, was published in 1977 and remains one of her most popular works. Many of Aidoo's protagonists are women who defy the stereotypical women's roles of their time, as in her play Anowa. Her novel Changes won the 1992 Commonwealth Writers' Prize for Best Book (Africa). She is also an accomplished poet—her collection Someone Talking to Sometime won the Nelson Mandela Prize for Poetry in 1987—and has written several children's books.
She contributed the piece "To be a woman" to the 1984 anthology Sisterhood Is Global: The International Women's Movement Anthology, edited by Robin Morgan. In 2000 she founded the Mbaasem Foundation, a non-governmental organization based in Ghana with a mission "to support the development and sustainability of African women writers and their artistic output", which she runs together with her daughter Kinna Likimani and a board of management. Aidoo is the editor of the 2006 anthology African Love Stories.
Our Sister Killjoy is about a young African woman named Sissie who goes to Europe to "better" herself (with European education) as described by her African counterparts. The novel revolves around themes of black diaspora and colonialism, in particular colonization of the mind. Sissie observes the other Africans who have emigrated (also for education and the desire for a better life in Europe) and sees them as "sell-outs" who have forgotten their culture and their motherland. Aidoo touches on the effects of post-colonialism and how the traditions and thoughts of the colonizer are instilled into the minds of the colonized. Sissie in the novel represents the need to have a connection to one's past. Aidoo is critical of Africans' adulation of Europeans. The first thing Sissie notices upon going into the town in Germany are shiny and glittery material possessions. Aidoo critiques the way some Africans buy into the notion of white superiority, by turning to Europe when they are looking for the "best," whether in education or material possessions. The orientation toward Europe and the investment in whiteness begins in Africa and continues and is reinforced when Africans migrate to Europe. After colonialism, places such as Ghana and Nigeria are left with European institutions and frameworks and they continue to operate within them post-independence. Aidoo positions "Our Sister" as a radical to stand in strong opposition to those black people whose minds do not seem to be filled with thoughts of their own, such as Sammy, the first black person we are introduced to other than Our Sister. While in Germany Sissie befriends Marija. Although speaking different languages, they build a strong understanding. As Sissie's time in Germany nears an end, Marija makes a pass at her. Sissie has mixed emotions, never having been attracted to a woman before, and it makes her think deeply on same-gendered relationships. Later in the novel, Sissie goes to England and is surprised at the number of Africans she sees. She is shocked at their "wretched living conditions"; they live in basement flats and wear ugly, worn-in clothing. Sissie is shocked at the women who, had they been in Africa, would have worn the most beautiful, luxurious clothing, and have now ruined their own beauty. Sissie describes their position in England as "running very fast just to rema
in where they are".
Anowa published in 1970. It is based on a traditional Ghanaian tale of a daughter who rejects suitors proposed by her parents, Osam and Badua, and marries a stranger who ultimately is revealed as the Devil in disguise. The play is set in the 1870s on the Gold Coast, and tells the story of the heroine Anowa's failed marriage to the slave trader Kofi Ako. The play has a unique trait where a couple, an old man and an old woman, play the role of the Chorus. They present themselves at crucial points in the play and give their own views on the events in the play. Anowa's attitude of being a modern independent woman angers Kofi Ako. He requests her to be like other normal women. Anowa lives in a hallucinated world and the sorrow of not bearing a child depresses her. Her rich husband, now frustrated with his wife asks her to leave him. Anowa argues with him and finds out that he had lost his ability to bear children and the fault was in him and not in her. This disclosure of the truth drives Kofi Ako to shoot himself and Anowa drowns herself. Anowa represents the modern woman who likes to make her own decisions and live life as per her choice. An additional conflict is that although a tribal woman, she has the traits of a city-bred. Her attitude leads to her destruction.
Anowa published in 1970. It is based on a traditional Ghanaian tale of a daughter who rejects suitors proposed by her parents, Osam and Badua, and marries a stranger who ultimately is revealed as the Devil in disguise. The play is set in the 1870s on the Gold Coast, and tells the story of the heroine Anowa's failed marriage to the slave trader Kofi Ako. The play has a unique trait where a couple, an old man and an old woman, play the role of the Chorus. They present themselves at crucial points in the play and give their own views on the events in the play. Anowa's attitude of being a modern independent woman angers Kofi Ako. He requests her to be like other normal women. Anowa lives in a hallucinated world and the sorrow of not bearing a child depresses her. Her rich husband, now frustrated with his wife asks her to leave him. Anowa argues with him and finds out that he had lost his ability to bear children and the fault was in him and not in her. This disclosure of the truth drives Kofi Ako to shoot himself and Anowa drowns herself. Anowa represents the modern woman who likes to make her own decisions and live life as per her choice. An additional conflict is that although a tribal woman, she has the traits of a city-bred. Her attitude leads to her destruction.
Comedy of menace is the body of plays written by David Campton, Nigel Dennis, N. F. Simpson, and Harold Pinter. The term was coined by drama critic Irving Wardle, who borrowed it from the subtitle of Campton's play The Lunatic View: A Comedy of Menace, in reviewing Pinter's and Campton's plays in Encore in 1958. (Campton's subtitle Comedy of Menace is a jocular play-on-words derived from comedy of manners—menace being mannerspronounced with somewhat of a Judeo-English accent.)
Buchi Emecheta
Florence Onyebuchi "Buchi" Emecheta OBE (21 July 1944 – 25 January 2017) was a Nigerian-born British novelist, based in the UK from 1962, who also wrote plays and autobiography, as well as work for children. She was the author of more than 20 books, including Second-Class Citizen (1974), The Bride Price (1976), The Slave Girl (1977) and The Joys of Motherhood (1979).
Her themes of child slavery, motherhood, female independence and freedom through education gained recognition from critics and honours. Emecheta once described her stories as "stories of the world…[where]… women face the universal problems of poverty and oppression, and the longer they stay, no matter where they have come from originally, the more the problems become identical." She has been characterised as "the first successful black woman novelist living in Britain after 1948".
She began writing about her experiences of Black British life in a regular column in the New Statesman, and a collection of these pieces became her first published book in 1972, In the Ditch. The semi-autobiographical novel chronicled the struggles of a main character named Adah, who is forced to live in a housing estate while working as a librarian to support her five children. Her second novel published two years later, Second-Class Citizen (Allison and Busby, 1974), also drew on Emecheta's own experiences, and both books were eventually published in one volume by Allison and Busby under the title Adah's Story (1983).
From 1965 to 1969, Emecheta worked as a library officer for the British Museum in London. From 1969 to 1976 she was a youth worker and sociologist for the Inner London Education Authority, and from 1976 to 1978 she worked as a community worker in Camden, North London, meanwhile continuing to produce further novels with Allison and Busby – The Bride Price (1976), The Slave Girl (1977), The Joys of Motherhood (1979) and Destination Biafra (1982) – as well as the children's books Titch the Cat (1979) and Nowhere To Play (1980).
The Bride Price is a 1975 novel (first published in the UK by Allison & Busby and in the USA by George Braziller) by Nigerian writer Buchi Emecheta. It concerns, in part, the problems of women in post-colonial Nigeria. In the city of Lagos, the Ibo Aku-nna and her brother, Nna-nndo, bid farewell by their father Ezekiel, who says he is going to the hospital for a few hours – their mother, Ma Blackie, is back home in Ibuza, performing fertility rites. It becomes apparent that he is much sicker than he let his children know, and he dies three weeks later. They have the funeral the day before Ma Blackie arrives; she takes them back to Ibuza with her, as she now becomes the wife of Ezekiel’s brother. The family is problematic in Ibuza – Ma Blackie has some of her own money, and so her children receive much more schooling than other children in the village, particularly the children of her new husband’s other wives. Aku-nna is blossoming, though she is thin and passive, and starts to attract the attention of young men in the neighborhood, though she has not yet started to menstruate. Her stepfather Okonkwo, who has ambitions of being made a chief, begins to anticipate a large bride price for her. Meanwhile, she has begun to fall for her teacher Chike, who in turn has developed a passion for her. Chike is the descendant of slaves – when colonization started, the Ibo often sent their slaves to the missionary schools so they could please the missionaries without disrupting Ibo life, and now the descendants of those slaves hold most of the privileged positions in the region. Chike’s inferior background means it is unlikely that Okonkwo will agree to let him marry Aku-nna, although his family is wealthy enough to offer a generous bride price. When Aku-nna begins menstruating – the sign that she is now old enough to get married – she at first conceals it in order to stave off the inevitable confrontation. When she finally reveals that she has her period, young men come to court her and Okonkwo receives several offers. One night, after sh
Florence Onyebuchi "Buchi" Emecheta OBE (21 July 1944 – 25 January 2017) was a Nigerian-born British novelist, based in the UK from 1962, who also wrote plays and autobiography, as well as work for children. She was the author of more than 20 books, including Second-Class Citizen (1974), The Bride Price (1976), The Slave Girl (1977) and The Joys of Motherhood (1979).
Her themes of child slavery, motherhood, female independence and freedom through education gained recognition from critics and honours. Emecheta once described her stories as "stories of the world…[where]… women face the universal problems of poverty and oppression, and the longer they stay, no matter where they have come from originally, the more the problems become identical." She has been characterised as "the first successful black woman novelist living in Britain after 1948".
She began writing about her experiences of Black British life in a regular column in the New Statesman, and a collection of these pieces became her first published book in 1972, In the Ditch. The semi-autobiographical novel chronicled the struggles of a main character named Adah, who is forced to live in a housing estate while working as a librarian to support her five children. Her second novel published two years later, Second-Class Citizen (Allison and Busby, 1974), also drew on Emecheta's own experiences, and both books were eventually published in one volume by Allison and Busby under the title Adah's Story (1983).
From 1965 to 1969, Emecheta worked as a library officer for the British Museum in London. From 1969 to 1976 she was a youth worker and sociologist for the Inner London Education Authority, and from 1976 to 1978 she worked as a community worker in Camden, North London, meanwhile continuing to produce further novels with Allison and Busby – The Bride Price (1976), The Slave Girl (1977), The Joys of Motherhood (1979) and Destination Biafra (1982) – as well as the children's books Titch the Cat (1979) and Nowhere To Play (1980).
The Bride Price is a 1975 novel (first published in the UK by Allison & Busby and in the USA by George Braziller) by Nigerian writer Buchi Emecheta. It concerns, in part, the problems of women in post-colonial Nigeria. In the city of Lagos, the Ibo Aku-nna and her brother, Nna-nndo, bid farewell by their father Ezekiel, who says he is going to the hospital for a few hours – their mother, Ma Blackie, is back home in Ibuza, performing fertility rites. It becomes apparent that he is much sicker than he let his children know, and he dies three weeks later. They have the funeral the day before Ma Blackie arrives; she takes them back to Ibuza with her, as she now becomes the wife of Ezekiel’s brother. The family is problematic in Ibuza – Ma Blackie has some of her own money, and so her children receive much more schooling than other children in the village, particularly the children of her new husband’s other wives. Aku-nna is blossoming, though she is thin and passive, and starts to attract the attention of young men in the neighborhood, though she has not yet started to menstruate. Her stepfather Okonkwo, who has ambitions of being made a chief, begins to anticipate a large bride price for her. Meanwhile, she has begun to fall for her teacher Chike, who in turn has developed a passion for her. Chike is the descendant of slaves – when colonization started, the Ibo often sent their slaves to the missionary schools so they could please the missionaries without disrupting Ibo life, and now the descendants of those slaves hold most of the privileged positions in the region. Chike’s inferior background means it is unlikely that Okonkwo will agree to let him marry Aku-nna, although his family is wealthy enough to offer a generous bride price. When Aku-nna begins menstruating – the sign that she is now old enough to get married – she at first conceals it in order to stave off the inevitable confrontation. When she finally reveals that she has her period, young men come to court her and Okonkwo receives several offers. One night, after sh
e finds out that she has passed her school examination (meaning she might become a teacher, earning money by means other than the bride price) she and the other young women of her age-group are practicing a dance for the upcoming Christmas celebration when men burst in and kidnap her. The family of an arrogant suitor with a limp, Okoboshi, has kidnapped her to be his bride in order to “save” her from the attentions of Chike. On her wedding night, she lies and tells Okoboshi that she is not a virgin and has slept with Chike; he refuses to touch her. The next day, word of her disgrace has already spread around the village when Chike rescues her and the two elope, fleeing to Ughelli where Chike has work. The two begin a happy life together, marred by her guilt over her unpaid bride price – Okonkwo, furious, refuses to accept any of the increasingly generous offers made by Chike’s father, and has gone so far as to divorce Ma Blackie and torture a doll made in Aku-nna’s image. When Aku-nna feels sick, she goes home. There she is not sure if she will have a baby. Soon the doctor in Chike´s oil company confirms that Aku-nna will have a baby. Later on when she feels sick and screams, Chike brings her to the hospital. There Aku-nna dies in childbirth. Chike christens his baby Joy.
In The Slave Girl (published in 1980 by George Braziller), Buchi Emechata tells an award winning story that centers around Ogbanje Ojebeta, a girl sold off by her very own blood into slavery to the house of Ma Palagada and husband. Ojebeta’s birth was very unique in that all other girls had by her mother died immediately after birth. She was believed to be an Ogbanje–a child that comes and goes. After her birth, her mother waited for her to die but was surprised when after a while the child refused to die. She then decided to nurse the baby. Everyone loved Ojebeta, including her mother and two brothers, and even her father who went miles to get tin amulets to guard the child’s life as advised by the oraclist. Six years after her birth, her parents died and the family’s prospects worsened as a result. Enuhu, one of the brothers ran away and Okolie, her other brother decided to sell her off to their rich relative as a slave. The book follows Ojebeta’s life with the Palagadas. The woman of the house is a very strong woman with a keen business sense. Also, she is hardworking and good natured and has amassed a lot of wealth. By convention, however, all her wealth belongs to her lazy husband. The slave girls in the Palagada household are slightly more fortunate than the slave girls of other homes since their Ma is a very nice woman. The eldest of them, Chiago, however, is secretly being forced by the master to have sexual relations with him. She consents though sadly. `What choice do I have’ she thinks to herself. The Ma’s only son – Clifford comes back from the city and finds that he is attracted to Ojebeta. He tells her, rather too stiffly without asking for her opinion and she accepts to wait till he is ready to propose formally. Meanwhile, Chiago becomes pregnant and is sent away to give birth. After a while Ma becomes very sick and her two daughters come to take care of her. Ojebeta goes through hell as Victoria, one of the daughters is very demanding. Ma Palagada gets well but with time she becomes sick again and this time, she does not survive. After her death, Ojebeta decides to return to her homeland. She is granted freedom by Pa Palagada and bid journey mercies by the slave girls including Chiago who has now assumed the new role of the Ma of the house. Back home, Ojebeta is warmly received by her people and she basks in the sweetness of being free and doing what her other village age mates do. She is even some distance ahead of them as she is firmly secured in her trade with some money she had stashed away during her stay with the Palagadas and she has even learnt how to read. She later agrees to marry Jacob, an educated, hardworking man who fully pays her slavery money to Clifford and sets her totally free. *The Slave Girl is far more than a femin
In The Slave Girl (published in 1980 by George Braziller), Buchi Emechata tells an award winning story that centers around Ogbanje Ojebeta, a girl sold off by her very own blood into slavery to the house of Ma Palagada and husband. Ojebeta’s birth was very unique in that all other girls had by her mother died immediately after birth. She was believed to be an Ogbanje–a child that comes and goes. After her birth, her mother waited for her to die but was surprised when after a while the child refused to die. She then decided to nurse the baby. Everyone loved Ojebeta, including her mother and two brothers, and even her father who went miles to get tin amulets to guard the child’s life as advised by the oraclist. Six years after her birth, her parents died and the family’s prospects worsened as a result. Enuhu, one of the brothers ran away and Okolie, her other brother decided to sell her off to their rich relative as a slave. The book follows Ojebeta’s life with the Palagadas. The woman of the house is a very strong woman with a keen business sense. Also, she is hardworking and good natured and has amassed a lot of wealth. By convention, however, all her wealth belongs to her lazy husband. The slave girls in the Palagada household are slightly more fortunate than the slave girls of other homes since their Ma is a very nice woman. The eldest of them, Chiago, however, is secretly being forced by the master to have sexual relations with him. She consents though sadly. `What choice do I have’ she thinks to herself. The Ma’s only son – Clifford comes back from the city and finds that he is attracted to Ojebeta. He tells her, rather too stiffly without asking for her opinion and she accepts to wait till he is ready to propose formally. Meanwhile, Chiago becomes pregnant and is sent away to give birth. After a while Ma becomes very sick and her two daughters come to take care of her. Ojebeta goes through hell as Victoria, one of the daughters is very demanding. Ma Palagada gets well but with time she becomes sick again and this time, she does not survive. After her death, Ojebeta decides to return to her homeland. She is granted freedom by Pa Palagada and bid journey mercies by the slave girls including Chiago who has now assumed the new role of the Ma of the house. Back home, Ojebeta is warmly received by her people and she basks in the sweetness of being free and doing what her other village age mates do. She is even some distance ahead of them as she is firmly secured in her trade with some money she had stashed away during her stay with the Palagadas and she has even learnt how to read. She later agrees to marry Jacob, an educated, hardworking man who fully pays her slavery money to Clifford and sets her totally free. *The Slave Girl is far more than a femin
ist’s ramblings. It is a book about the mistreatment of women and that intensely talks about their condition as they try to meld the present and the past together in their effort to find a position which is much more than the kitchen and babies. It tells of women who want to be more but have to settle for what tradition and the society itself dictates. It is one of the very best pre colonial African books and is heartily recommended. It won the Jock Campbell New Statesman Award.
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