This article examines the above topic, first of all, in the words of Maurice O"Connor (2008), as a narrative of internal dissent: Achebe reminiscing how issues in the earlier novels and in the present state of Nigeria merge as one continuous odious history of national disorientation and distortion. It, therefore, uses the storytelling methodology Achebe employs to discuss this historiography of distortion, by examining views of the key narrators who have shared the disillusioning experiences: the horrors of violence and oppression , effecting mass poverty, disillusionment and dehumanization. We examine also why storytelling is said to be of primary importance especially vis-à-vis African literature: examining the narratives as a cultural, consciousness-raising art, especially with regard to what should be the role of women in post-colonial African narratives. In discussing this, the article bears down on Beatrice as the embodiment of what, in narrative politics, Hanggi (2012) has called sane, saving politics of love, the hope for Nigeria/Africa. Through these discourses of the chief narrators, therefore, we see how Achebe endows Beatrice with the symbol of the inherent love in Motherhood that should end the horrors of "the single story" of pre and post-colonial male power, privilege and patriarchy (
This article re-examines views of some literary critics who find Soyinka’s style intolerably complex and those who disagree with this extremist view. The article further examines reasons given by each group. An attempt is then made to summarize the reasons given for the complexity of The Interpreters by getting into the text to reappraise the major styles Soyinka employs. Behind all this is an attempt to demonstrate that Soyinka is very much a committed artist giving a scathing comment on the corruption and bankruptcy of the so-called leaders (interpreters) of a newly independent Nigeria (Africa). Finally, as a rebuttal to increasing anti-Soyinka critics within our local/Ugandan society, some of whom mere singers of prejudices, the article attempts an ‘educating crusade’: challenging practicing teachers/lecturers first, and then extending this to our Language Education Curriculum in Teacher Training Colleges and Universities to re-examine the way we prepare our teachers of English and Literature for the critical task ahead during their execution of professional obligations. This is how the article looks at The Interpreters as a very important pointer to something that has gone wrong with our pedagogical and methodological practices. It is not Soyinka alone under attack when we label him too complex to deserve our attention but many other authors constantly being pooled into the ‘hole of poor or no readership’ in this country.
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