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Orality and Transformation in Ben Okri’s The Famished Road - Literature Essay Samples

‘Life is full of riddles that only the dead can answer.’ The ‘dead’ are important to Ben Okri’s The Famished Road in a number of ways. His narrator Azuro is ‘Abiku’; the ‘spirit’ child of Yoruba mythology, predestined to an early death and connected to the ‘spirit world’ by persistent and esoteric threads. Unlike the Christian Lazarus with whom his name is associated, Azaro does not undergo bodily resurrection but repeated death and re-birth. The cyclical nature of his existence is significant in that it allows Okri’s narrative to span the ‘real’ and the ‘spirit’ worlds and the transitional space between the two. Thus, the novel sets up an intriguing paradigm of reality in which esoteric existence is afforded the same narrative significance as the newly independent Nigeria in which the novel is set. Yet, the novel also relies on ‘the dead’ in a wider sense. Okri’s invocation of Nigerian mythology and paradigms of folklore constru cts an intriguing historicism as the narrative models of past generations are regenerated within his writing. This sense of transformation, or as Ato Quason suggests a ‘mythopoetic discourse’ denotes an intriguing interaction between tradition and innovation as Nigerian indigenous culture is reinvented by a ‘post-modern’ text. This interaction is central to the narrative form of The Famished Road. Storytelling is at the heart of the novel and it evokes paradigms of folktales and orality with its limited first-person perspective and expressions of proverbial wisdom. The novel’s opening is formulaic; providing an invitation to be read that is characteristic of creationist myths; ‘In the beginning, there was a river. The river became a road and the road branched out into the whole world. And because the road was once a river, it was always hungry.’ (p3) The notion of a ‘Famished Road’ connects the novel to Nigerian mythology. As Ato Quayson points out, in southwestern Nigeria prayers are directed at the road ‘†¦asking it not to swallow up suppliants on their journeys.’ This is furthered by the original source of the road as a ‘river’ as it forms a parallel with the Yoruba creation myth in which the universe begins in a transient and watery state as ‘†¦the sky, the water and the marshland.’ Thus, Okri’s opening sentence engages with a wider sense of beginnings as it both signifies the start of the novel and indicates his conscious allusion to earlier modes of story telling within indigenous culture. The notion of a transmitting of story through the generations remains central to Okri’s novel as the narrative structure is interjected by oral storytelling. Towards the end of Book Three, the ‘famished road’ re-surfaces as the subject of his father’s story. The tale is performed in the dark, inaugurating a sensory shift as Okri’s setting is communicated through sound; ‘The chair creaked. Outside, a dog barked. An owl hooted.’ (p258) The inability of Okri’s characters to see clearly is important; it connects the story to the incantatory darkness of dreams and visions and allows the imagination free reign. Notably, the tale adheres to a folkloric paradigm; encompassing myth and symbol as the road’s insatiable hunger is explained by the reduction of the ‘King of the Road’ to a ravenous and growling ‘stomach’ (261). The narrative opens with the stock phrase ‘Once upon a time’ and conclude s with the proverbial ‘†¦That is why there are so many accidents in the world.’ (p261) Strikingly, the opening and closing lines of Okri’s novel as a whole follow a similar pattern. Both its formulaic beginning and gnomic conclusion that ‘A dream can be the highest point of life’(p500) connect the novel to oral modes of story telling suggests a continuance of oral tradition as the novel participates in the narrative culture that precedes it. Ato Quayson explores this participation in his 1997 study Strategic Transformations in Nigerian Writing. Quayson draws a parallel between Okri’s narrative and Joseph Miller’s definition of the narrative ‘clichà ©s’ around which oral tales are structured. Thus, for Quayson, the novel constructs an ‘orality paradigm within the space of a literary one’ as the conventions of oral story telling are re-invented within the modern form of the single narrative novel. This notion of dual narrative expectation is important as it points to an intriguing sense of historicism within Okri’s novel. The symbiosis between the traditions of indigenous culture modern writing, indicate a movement away from a sequential, and essentially Western understanding of reality as Okri shows history to be active within the present. This is furthered by the glow from the Azuro’s Father’s ‘cigarette’ that finally lights the darkness as the c onnection between of story and firelight further connects the narrative to the conventions of orality. Thus, Okri constructs a sense of a-temporality as the glow from a cigarette takes on the role of a communal fire. In this way, Okri is positioned as heir to indigenous Nigerian culture and mythology. However, whilst The Famished Road participates in paradigms of orality, it equally draws parallels with a more recent tradition of Nigerian literature; with the resurgence of folkloric paradigms and mythology following the writing of Amos Tutola and Wole Soyinka. Soyinka makes an explicit connection with the symbol of a ‘famished’ road in ‘Death in the Dawn.’ The poem opens with a direct addressing to the reader; ‘Traveler, you must set out / At dawn. And wipe your feet upon / The dog-nose wetness of the earth.’ The notion of origins is important here. As with the opening of The Famished Road, the line is tied up with journey and travel, suggesting both the ‘set[ting] out’ of the ‘Traveler’ and the beginnings of the poem. Since the first-person address places the reader as the ‘Traveler’, the poem appears to suggest a narr ative course, engaging with the journey of writing and of being read. Strikingly, the ‘wetness’ of the earth suggests as similar state of flux to that indicated by the ‘river’ at the start of Okri’s novel. This shared notion of a transformation from water to road is intriguing as it evokes a wider sense of cycles. Here, Quayson’s notion of a ‘communally held culture’ appears particularly apt as water always returns to a greater source. Quayson describes Okri’s own preoccupation of cycles of re-birth as influenced by Soyinka’s handling of the ‘Abiku.’ It is tempting to draw cultural significance from the writer’s shared tropes, especially when considering the further parallels that connect Okri with Tutuola. Just as Azuro begins his narrative around the age of seven, in The Palm-Wine Drinkard, the life-story of Tutuola’s unnamed narrator begins from when he is ‘about seven years old.’ Thus, in connecting with the literature of both the past and th e present, Okri gives weight to the concept of a shared culture and transmitting of narrative material. Here, T.S. Eliot’s famous assertion that ‘mature poets steal’ appears particularly fitting. If, as Quayson suggests, Okri is orchestrating a duality between ‘an orality paradigm within the space of a literary one’ then he is surely, participating in the kind of ‘steal[ing]’ advocated by Eliot. At the heart of this reading then, is the notion of transformation and community within shared culture the works of ‘dead poets and artists’ are imbued with new significance and life. However, the polarities between The Famished Road and the writings of Tutuola and Soyinka must also be examined. As Derek Wright points out, The Famished Road is remote from the ‘Folkloric dream-narratives of Amos Tutuola†¦Ã¢â‚¬â„¢ in that Okri ‘†¦does not envisage his world as an imaginary mythic, metaphorical or parabolic construct’ but allows the ‘real’ and the ‘spirit’ worlds equal narrative status. This view is striking in that it emphases Okri’s paradigm of reality rather than his commitment to a continuance of indigenous culture. Okri warns us early on that ‘one world contains glimpses of others’(p10) and in integrating the activity of spirits within the prosaic lives of his characters, he creates a narrative structure in which the real is a fluid and changeable concept rather than a fixed actuality. This notion is concretised by Azuro’s discovery of a tribal mask in Book Three of The Famished Ro ad. The ease with which Okri shifts from the real to the surreal is striking as the candid simplicity of Azuro’s narrative allows him to look out ‘from its eyes’ (p244) and move into the realms of myth as he sees ‘a different world’ (p245) Yet, what makes this passage so intriguing is the tone of normality created by Okri’s syntax. Azuro’s remark that ‘I saw a tiger with silver wings and the teeth of a bull’ contains the same employment of verbs as ‘I rested against a tree and shut my eyes’ (p244). This constructs a strange situation in which the mythological and the prosaic hold the same syntactic status; a balance compounded by the ‘I’ that begins each sentence. The passage then is to do with perception; Azaro looks through the mask and accepts the mythological as part of his existence. His acceptance opposes the Enlightenment understanding of reality that Okri wishes to challenge as the sequential and temporal are discarded in favour of the esoteric. However, the passage also further connects Okri’s writing to indigenous culture. As Iris Andreski illustrates in her study of the life-stories of Ibibio women in Old Wives’ Tales, the co-existence of esoteric and physical worlds is an accepted norm in much of rural Nigeria. This is made clear in The Reluctant Sorceress in which the narrator recounts how ‘Devil spirits drove me out of the house and into a thick forest for one year†¦Ã¢â‚¬â„¢ Okri’s novel can thus be seen as a mode of seeing that it not Eurocentric. The narrative displays a fascination with perspective and optics as the action is either captured by the incongruous perspective of the Abiku or from th e lens of the ‘Photographer’s’ camera. Thus, the novel functions as a kind of literary mask through which the reader is able to glimpse ‘a different world.’ (p245) However, such a reading must be approached with caution if one is to avoid reconstructing a homogenous and essentially colonial perception of ‘Africa’ as a continent of myth and esoteric primitivism. The notion of an indigenous and non-sequential view of reality is appealing yet it denotes a level of otherness; an inability to see things in the same way. In his Modernism, Africa and the Myth of Continents, Jon Hegglund cites Conrad and Picasso as unintentionally active in the reduction of ‘the diversity of a continent to a single abstraction.’ Since their route towards the ‘modernist transformation’ ran ‘through Africa’ Hegglund demonstrates their work as simplifying its cultural complexity. This movement from intricacy to generalized concept provides a note of caution when approaching Okri. The notion of a mythological pool from which the works of Okri, Soyinka and Tutuola are drawn is appealing in its invocation of shared story and transformation yet it risks falling into a similar, Westernised generalisation. It is vital to note that these writers are working in English. The Famished Road presents a connection with Nigerian tradition yet it is equally indicative of colonialism. Whilst the novel’s beginning evokes the narrative clichà ©s demonstrated by Muller, it is also pseudo-Christian as ‘river’ replaces ‘the Word’ of John’s Gospel. This is furthered by the opening of the tale of the ‘King of the Road’ as ‘Once upon a time’ is an essentially European stock phrase. Thus, Okri is concerned with a wider process of metamorphosis. The novel involves a transformation of literary models as both Nigerian fo lklore and Western clichà ©s are reinvented by his narrative form, yet it also points to the cultural transformation of a country. Here, the novel’s setting takes on a greater significance as, despite its separation from the United Kingdom, Okri shows an absorption of Western influence within the language and story of Nigeria making the two collectively bound.

Mass Incarceration And Its Effects On Society - 2911 Words

Introduction At any given time, there are approximately 2 million American citizens incarcerated and nearly 700,000 inmates returning to their communities each year. (Petitt Western, 2004; Western, 2001). Since most prisoners are eventually released, mass incarceration has in turn produced a steep rise in the number of individuals reentering society and undergoing the process of social and economic reintegration. (Travis, 2005). During the period between 1982 and 2007, the number of Americans incarcerated in jails and prisons increased by 274% (Pew Center on the States, 2009). In addition to the increase of the individuals incarcerated, there is an even larger amount of individuals under community supervision, with a recent study finding that one in every 48 American adults are either on probation or parole on any given day (Glaze Bonczar, 2011). Recent statistics show that the percentage of parolees re-incarcerated after release currently stands at 32% (Maruschak and Parks, 2012). The growing number of individuals exiting prison each year has prompted renewed interest among academics and policymakers in the challenges of reintegrating former prisoners into society (Visher Travis, 2003). The challenges of reentry appears to be daunting, as the prospects for successful reentry are often dim. More than 40 percent of those released return to prison within three years, a phenomenon known as the â€Å"revolving door† (Pew Center on the States, 2011). This â€Å"revolving door† is aShow MoreRelatedMass Incarceration And Its Effects On Society1492 Words   |  6 Pageswidespread societal and economic damage caused by America’s now-40-year experiment in locking up vast numbers of its citizens. (The Editorial Board) The standard way of thinking about mass incarceration has it that mass incarceration is putting a stop to crimes. Today it has become common to dismiss the truth about mass incarceration. The Editorial Board of New York Times Magazine acknowledge that America`s imprisonment population has progressed to about 2.2 million (the Editorial Board). The Editorial BoardRead MoreMass Incarceration And Its Effects On Families, Communities, And Society1400 Words   |  6 Pagespaved the way to create a cycle of endless incarceration for many people but especially for those of color. Such as the 1994 Violent Crime Control Act and the lack of substance abuse treatment in prisons. Overwhelmingly, mass incarceration has had a great impact on families, communities and society as a whole. As illuminated through the parable by inmate Joe Martinez, this continued cycling of inmates in and out of prison is devastating to the growth society. At the beginning of the parable theRead MoreThe Effects Of High Incarceration On The United States879 Words   |  4 PagesA. Societal Effects From Increasing Alienated Population The vast societal effects from mass incarceration have caused an increasingly alienated population to form in the U.S., which can be broadly classified in the dual areas of lasting effects and impacts to the family unit. First, the lasting effects of high incarceration rates are that they impact the rights of the convict, particularly African Americans. For example, noted civil rights attorney Michelle Alexander posits that the longRead MoreMass Incarceration802 Words   |  4 Pagesidentifies the racialized mass incarceration problem that we have in our criminal justice system. Reading the book, you can see that mass incarceration is a social problem. This means that the problem can follow the six stages of the policy process. If I were a claimsmaker, I could assert that mass incarceration is a problem by following the six stages. In the claimsmaking stage, I would claim that the War on Drugs creates the racialized mass incarceration in our society today. To show that we haveRead MoreCriminals Must Be Punished For Breaking The Laws Of The Land1489 Words   |  6 Pagesin which we discipline those who do not respect the law is vanishing. So, what will we do with criminals once all our jails exceed their maximum capacity? Those who break the law pose a danger to our society which is why we developed the system of incarceration. Jails have functioned in our society to protect citizens, or those who obey the constitution. For years, our jails were able to separate criminals from obedient citizens as well as punish criminals for their wrong doings. In the past, peopleRead MoreThe Division Of Our Society : Exploring Mass Imprisonment1737 Words   |  7 Pages Mass Incarceration The Division of Our Society: Exploring Mass Imprisonment Pamela D. Jackson WRIT 130: Research Paper Professor Jane Campanizzi-Mook September 11th 2015 ABSTRACT Prison is unfortunately big business in the United States and our society is paying the ultimate cost and there is only one system being rewarded. More than often we do not put much emphasis on the prison system in its entirety. It is a fairly simple concept to most Americans that if you commit a crime or ifRead MoreThe New Jim Crow By Michelle Alexander1313 Words   |  6 Pages The New Jim Crow Michelle Alexander’s the new Jim Crow Mass Incarceration in the Age of Colorblindness examine the Jim Crow practices post slavery and the mass incarceration of African-American. The creation of Jim Crows laws where used as a tool to promote segregation among the minority and white American. Michelle Alexander’s the new Jim Crow Mass takes a look at Jim Crow laws and policies were put into place to block the social progression African-American from the post-slavery to the civilRead MoreThe New Jim Crow By Michelle Alexander1316 Words   |  6 Pages The New Jim Crow Michelle Alexander’s the new Jim Crow Mass Incarceration in the Age of Colorblindness examine the Jim Crow practices post slavery and the mass incarceration of African-American. The creation of Jim Crows laws were used as a tool to promote segregation among the minority and white American. Michelle Alexander’s the new Jim Crow Mass takes a look at Jim Crow laws and policies were put into place to block the social progression African-American from the post-slavery to theRead MoreThe Basis for Cridme Deterren ce in the United States964 Words   |  4 Pagesreaching consequences for criminal offenders and completely ignores the true goal of incarceration, to rehabilitate the offender for reintroduction into society. Mass incarceration as a means of criminal rehabilitation in the United States is extremely flawed. There are many far-reaching consequences of this practice that not only affects the incarcerated but larger society on a whole. The phrase mass incarceration, according to Oxford Encyclopedia, refers to â€Å"comparatively and historically extremeRead MoreThe Problem With Mass Incarceration1445 Words   |  6 Pages The Problem with Mass Incarceration Over the past few decades, the United States has witnessed a huge surge in the number of individuals in jail and in prison. Evidence suggests the mass imprisonment policy from the last 40 years was a horrible catastrophe. Putting more people in prison not only ruined lives, it disrupted families, prevented ex-prisoners to find housing, to get an education, or even a good job. Regrettably, the United States has a higher percent of its population incarcerated

Analysis Of Terry Pratchett s Captain Samuel Vimes

Americans in general look to superstars, athletes, and business moguls as the pinnacle of economic power, and hold them in great esteem for the amount of money they possess. We tend to see their success as the new ‘American Dream’ and strive to obtain what they have. However, while we know how the rich and well-to-do obtained their wealth, how do they manage to keep it? Why is it so difficult for the economically poor to change their fortune? Terry Pratchett utilized a character from his Diskworld series, Captain Samuel Vimes, to demonstrate out one of the key reasons that the wealthy manage to stay wealthy. â€Å"The reason that the rich were so rich, Vimes reasoned, was because they managed to spend less money. Take boots, for example.†¦show more content†¦After taking into account the value of all marketable assets, all debts, such as credit cards, mortgages, and others, are subtracted, yielding a person’s or family’s net worth. Additionally, it is important to distinguish wealth from income. A person’s income is what is earned from any work they do, or services they provide. However, income is also derived from dividends or interest they earn from investments, or rent that may be paid to them from property they own. It is interesting to note that in 2008, there were 13,480 tax returns with a reported income of over $10 million. â€Å"Of the $400 billion in income reported on those 13,480 returns, only 19 percent of it came from wages and salaries, much less than came from capital gains, even in such a bad year for stocks.† (Norris, 2010) This report demonstrates that the majority of the wealthy in the United States do not ‘work’ for a living; rather they live off of the results of investments they have made. This fact also bring to light another question. Exactly how is wealth within the United States distributed amongst the population? The Congressional Budget Office prepared a report in 2016 titled ‘Trends in Family Wealth, 1989 to 2013’. That report states the â€Å"aggregate family wealth in the United States was $67 trillion (or