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Soyinka Prize In Iliteracy

On 13 July 2018, the 84th birthday of Olumo Wole Soyinka, the 1986 Nobel Laureate for Literature, I honour him by revisiting a debate that is raging on the Internet over what many call my misreading of his work, especially with reference to my interpretation of his play, Death and King’s Horseman

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Soyinka, Pyrates Confraternity And The God Factor

On 13 July 2018, the 84th birthday of Olumo Wole Soyinka, the 1986 Nobel Laureate for Literature, I honoured him by revisiting a debate that is raging on the Internet over what many call my misreading of his work, especially with reference to my interpretation of his play, Death and King’s Horseman. Literary experts have been marvelling about the “Author’s Note” that accompanies Death and the King’s Horseman by Wole Soyinka.

Most playwrights leave it to the directors and producers of the play to interpret it as they wish but Soyinka was worried that most experts were misreading the play. He took the unusual authoritarian step of stipulating how the play should be interpreted but the critics appear not to notice and have continued to misread the play, in my own humble opinion. Soyinka left clues that would guide readers to decode his original intention in writing the play but most literary critics miss the point and some accuse me of being the mis-reader.

The very first sentence in the author’s note may have led many critics astray by stating that the play is based on real historical “events which took place in Oyo”, which the author defined as “an ancient Yoruba city of Nigeria”. This is misleading in a number of ways that literary critics should have been able to understand. To say that the events took place in 1946 would be to localise the time and space of the dramatic events whereas in the world of theatre, events do not take place exclusively in the setting but also on every stage where the play is produced.

Soyinka expected that literary theorists would understand that the playscript is not simply an archival document or ethnographic report but the work of original creation even when based on real events.

The play was not expected to be read, as the verbatim report of a tragic case that took place once upon a time. This is true of all works of creative writing that are supposed to be inventive no matter how much resemblance there may be between fiction and reality. In fact, many writers include a disclaimer that that any resemblance to real events was unintentional. As a matter of fact, the same can be said about reality genres that are full of inventions too. Soyinka clearly stated in the first paragraph of his author’s note that he made “changes” in the narrative “in matters of detail, sequence and of course characterisation”.

He also informed the illiterate critics that he deliberately set the play back a few years “while the war was still on, for minor reasons of dramaturgy.” Here, Soyinka is guiding the would-be producer away from a simplistic historical interpretation of the play as being only relevant to the case of 1946 given that dramaturgy grants artistic license that defies the laws of historical specificity. In addition, Soyinka may have misled the interpreters of the play by saying that Oyo was an “ancient Yoruba city of Nigeria”. Here he could be challenged by historians who may point out that Oyo was an ancient Yoruba Empire and not simply a city and that by 1946, it was no longer simply a Yoruba city but a multicultural one.

Moreover, nothing “of Nigeria” can be said to be ancient because Nigeria itself is a modernist invention by colonisers. The hint about the Nigerian setting of the play should have encouraged the critics to understand that the play is not only about a Yoruba tragedy but about a Nigerian tragedy. The reference to “while the war was still on” should have massaged the memory of the critics to remind them that the play was published only five years after a tragic genocidal war in Nigeria in which Yoruba elites played a leading aggressive role along with other ethnic elites in Nigeria. This play, in my lay opinion, is better understood, as part of the soul-searching by Soyinka after he was released from solitary confinement for opposing the genocidal war against the Igbo. Why were highly educated Yoruba leaders the ones who cheered on the genocide against the Igbo in Biafra?

Also, Soyinka indicated that those who were interested only in the factual account of the case of 1946 should go and read it in the British National Archives in Kew. He also pointed out that those who wanted to read a more exact historical re-enactment of the case should consult the “fine play in Yoruba (Oba Waja) by Duro Ladipo”. In other words, Death and the King’s Horseman is not that kind of historical re-enactment nor is it the kind of “misbegotten’ German television film about the case. The play was a more urgent intervention while Soyinka was in exile following the end of the war and his release from solitary confinement for having the audacity to oppose tyranny. Unlike his other plays, he did not wait for the play to be produced before he published it. I believe that Soyinka was directly and indirectly challenging his fellow Nigerian intellectuals to account for their opportunism in supporting a genocidal war that took 3.1 million lives in 30 months.

In the third paragraph of the author’s note, Soyinka declared that the “bane of themes of this genre” is that once the text appears, “they acquire the facile tag of ‘clash of cultures’”. He rejected such a label as “prejudicial” in the sense that it is prone to “frequent misapplication” and also because the label “presupposes” a potential equality in every given situation between the cultures of the coloniser and the colonised “on the actual soil of the latter”. Soyinka went on to award “the overseas prize in illiteracy and mental conditioning” to the writer of the blurb of the American edition of his novel, Season of Anomy, for “unblushingly” stating that the novel is about the “clash between old values and new ways, between western methods and African traditions”.

Soyinka explained that it is due to “this kind of perverse mentality” that he was forced to warn future producers (and critics) of the play to avoid “a sadly familiar reductionist tendency” and instead attempt to capture the “the far more difficult and risky task of eliciting the play’s threnodic essence.” Experts on the work of Soyinka are baffled by this injunction and wonder openly what he was banging on about? What is Soyinka trying to hide? He was trying to reveal something.

I offer the original interpretation that Soyinka was referring to the genocide against the Igbo which was the theme of the novel that he referred to, Season of Anomy, in which he recounted the eye-witness account of how fellow Nigerians hunted down tens of thousands of innocent Igbo men, women and children and massacred them in a pogrom that led to the secession of the Eastern region and the intensification of the genocide. In that novel, he mocked the archaeologists for poking around in search of fossilised bones while fresh blood flowed like river in the country and they did not seem to be bothered.

He also challenged the sociologists who came with “erudite irrelevances” about marriage and divorce but refused to join him in opposing a genocidal war. The novel depicted the Marxists who were locked up in a mental asylum as phrase-mongers who failed to recognise the revolutionary situation in the country and instead rallied in support of the genocidal military dictatorship rather than turn the civil war into a liberation war. To suggest that the novel was about the clash of cultures was a strategy to condition the mentality of Nigerian intellectuals towards the acceptance of the propaganda that the Igbo who led the struggle for decolonisation were primitive tribalists perhaps because they had no chiefs while the ethnic groups that ganged up against them were more civilised because they were monarchical, according to the ideologues of colonial domination.

Walter Rodney also observed that to call the genocide against the Igbo a tribal war would be to call Shell BP a tribe (along with the United Kingdom and the Soviet Union) and Ikenna Nzimiro argued that the Marxists in Biafra were engaged in class struggles. The “threnodic essence” of the play refers to funeral songs in Greek tragedies and I believe that Soyinka was inviting the producers of the play to imagine a national mourning for the 3.1 million killed in Biafra that the country has refused to mourn. Agwuncha Arthur Nwankwo has been calling for a National Day of Igbo Mourning to be recognised by the Nigerian government as part of the atonement.

In the final paragraph of the author’s note, Soyinka observed that an alternative structuralist interpretation of the play is to see it as a cruel joke on the British colonial District Officer. He quickly dismissed such a reading as distasteful and added that he deliberately avoided writing dialogue or scenes that would support such a misinterpretation. He dictated that, “No attempt should be made in production to suggest it”. This sounds like an angry response to critics who choose to misread his works for ideological reasons while ignoring the concrete conditions that his works address.

A prominent Marxist literary theorist that I admire, Biodun Jeyifo, who is an expert on the work of Soyinka, was invited by the British Broadcasting Corporation to write about any work of literature that he saw as being representative of the global culture. He chose to write beautifully about Death and the King’s Horseman, as an anti-colonial play that tried to subvert the use of the Queen’s English by creating a “future” tradition of the Anglophone that was more figurative than the English language.

He invoked the work of Marxist cultural studies by Raymond Williams and by Stuart Hall to suggest that the other Englishes around the world serve to subvert the domination of the world by Standard English. I pointed out that his interpretation is too superficial for a Marxist because the “thredonic essence” of the play was not to show that Africans could speak English better than the English. I suggested that a cultural studies reading of the play would not have focused exclusively on the beautiful writing or language of the play but would have tried to see the challenge to monarchism and oppressive traditions in the play.

Jeyifo told me privately that I should go and read the play again because it is not against the monarchy or against ritual suicide but simply against the colonial domination of African cultures. I admitted that I could be accused of misreading the play but I called it a strategic misreading and wondered if it is possible for an expert on the work of Soyinka to misread it. Soyinka seems to think so and that is the whole point of his detailed telling off of the experts in his author’s note.

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Contrary to the claim that Death and the King’s Horseman is only an anti-colonial play, Soyinka concluded his author’s note by stating that, “The Colonial Factor is an incident, a catalytic incident merely.” To him, the central “confrontation” or conflict that he tried to resolve in the play was “metaphysical” in the sense that it played out in the world of “the Yoruba mind – the world of the living, the dead and the unborn, and the numinous passages which links all: transition”.

Soyinka was puzzling about the metaphysics of the Yoruba worldview that made it possible for the best educated characters in the play to be the ones who cheered most vociferously for Elesin to abide by the tradition that expected him to kill himself in honour of a dead king. Similarly, Soyinka was wondering why the best educated Yoruba were the cheer-leaders of the genocide against the Igbo. Soyinka advised producers to try and capture this tragedy by using music to represent the macabre dance to the “music from the abyss” by the intellectuals who danced while millions were being slaughtered in Biafra.

I am not an expert in dramaturgy but I love the work of Soyinka. I cited his essay on Neo-Tarzanism in my criticism of the film, Black Panther, which I called an example of neo-Tarzanism. Following the serialisation of the criticism, I was invited by the KPFK public radio in Los Angeles to discuss the film with an Ethiopian publisher and an African American director of the Pan African Film Festival. During the discussion, the Ethiopian said that we should not condemn the presence of monarchies in Africa because there were popular emperors such as Mansa Musa and Haile Selessie who were admired by Africans and by the African diaspora.

The director of the Pan African Film Festival questioned my reference to Soyinka because he saw Death and the King’s Horseman as an indication that Soyinka was a monarchist who supported even the tradition that the horseman should commit suicide to honour the dead king. As Killmonger asked derisively in the film, I asked, this is your king? I stated that Soyinka used that play and almost every play of his to undermine the institution of the monarchy and call for democracy, which he is on record as admiring in Igbo culture. He spared the life of the Horseman in the play and his other tragedies – Kongi’s Harvest, Madmen and Specialists, King Babu; his novels, his poetry and his memoirs all support my interpretation of his anti-monarchical orientation.

Since the experts who have studied his work have focused almost exclusively on the structuralism, I propose to offer a post-structuralist or deconstruction radicalisation of his body of work to show that the tragedy of the state violence especially against the Igbo is at the centre of the conflicts that he has been trying to resolve. Just as the genocidal war was waged without a cease fire for humanitarian interventions, the author coincidentally instructs on page 8 of Death and the King’s Horseman that “The play should run without an interval.”

I agree with critics who will charge that I am misreading Soyinka here. If so, I will admit to a strategic misreading that is necessitated by placing the text within the context of a recent history of trauma that the author did not simply witness as a bystander but one in which he actively tried to stop the genocide and earned himself solitary confinement without trial. Sociologists approach the work of writers by taking into consideration, the context of the private and the public lives of the authors whereas literary theorists may concentrate exclusively on the technical, language, or structural aspects of the script as instructed by T.S. Eliot in his foundational essay, Tradition and Individual Talent.

What I am offering is a sociology of literature interpretation of Soyinka and I am certain that the rebel in him may force him to disagree with my interpretation and award me a national illiteracy prize. I am not contending that all existing interpretations of Soyinka are wrong. I am only saying that there is something missing in the community of Soyinka interpretations and I contend that what is neglected by critics is not minor but a central aspect of his work – his self-sacrificial opposition to the Igbo genocide in particular as a foundational part of his oppositional aesthetics in the face of tyranny.

Commentator: Biko Agozino.
He is Professor of Sociology and Africana Studies, Virginia Polytechnic Institute and State University, United States of America.

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Opinion

Cultivating Pluriversalistic Creativity And Scholarship Through A Curriculum In Falola Studies

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Dele Jegede In Conversation With Prince Yemisi Shyllon

By Oluwatoyin Vincent Adepoju

Compcros

Comparative Cognitive Processes and Systems

“Exploring Every Corner of the Cosmos in Search of Knowledge”

I envisage a curriculum of learning inspired by the work of polymathic scholar, writer, research organizer and scholarly entrepreneur Toyin Falola.

These curricula could be of two types.

One could explore the character of his activities in particular cognitive domains, the interrelationship of these activities and their conjunctions with and significance beyond the universe of activity generated by Falola’s work.

Another approach could be that of developing creativity by emulating Falola’s example. Such a learning strategy would aspire to cultivating creativity that is individualistic as well as collaborative, intellectual as well as imaginative and artistic, locally sensitive as well as multicultural and international in inspiration, grounded in the material world as well as maximizing the significance of cyberspace.

Such a pluriversality creativity would take inspiration from the individualistic character of Falola’s work-represented by his sole written books and sole written essays, book chapters and poetry.

It would adapt the collaborative character of Falola’s productivity, as demonstrated by his co-written books, co-written essays, edited books, editorship of journals, book series with various publishers, conferences, interviews, his establishing a publishing house/s/consortium, financing book publications, establishing prizes, and more perhaps.

The aspirant would work out how to employ for themselves their own version of the intellectual character of Falola’s creativity, as expressed in his scholarly writings elucidating, analysing, interpreting and applying phenomena, ideas and insights in various books, essays and public addresses.

This approach would develop for the individual the person’s own version of the imaginative dimension of Falola’s creativity, reworking material, social and mental realities in imaginative terms and projecting possibilities beyond the existent through such initiatives as new academic programs.

This method would cultivate a person’s artistic skill, creating novel structures of expression using expressive techniques centred in imagination and evocation rather than directness of expression and analytical power, as demonstrated by Falola’s poetry.

This learning strategy would explore how the student could learn from the insights possible through their environment, as well as contributing to shaping that environment, as evident in Falola’s studies of his African and diaspora African social, expressive and cognitive contexts and his efforts in contributing to shaping those contexts.

This perspective on creative growth would also seek to learn from a broad range of cultures and countries, bringing them into a synergy, perhaps focused on a central cultural inspiration, as is visible in Falola’s integration of Western and African thought and cultures in his scholarship, a scope recently extending into South America in studying perspectives on decolonization.

These initiatives in developing people’s creativity would draw from the material world of physical human sociation and the inspiration of nature, from physically embodied knowledge systems and the social networks and cognitive resources enabled by cyberspace, as exemplified by Falola’s use of both physical and digital learning resources, through his creation of collaborative networks in physical spaces such as universities in Africa and the West and the construction of an international research network using cyberspace.

 

 

 

 

 

 

 

 

 

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Opinion

Professor Jide Osuntokun: A Life Of Service And Legacy

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Dele Jegede In Conversation With Prince Yemisi Shyllon
Prof. Toyin Falola

By Toyin Falola

The Noble Academic and Patriot by Ayorinde Omosebi is a biography of Professor Jide Osuntokun chronicling the life of this great historian, diplomat, and educator who has left significant marks across Nigeria’s academic and political landscape. In a careful reading of this biography, it is seen that important aspects of his life, achievements, and purpose involve a dedication to knowledge, national development, and family. This tribute also sets an inspirational example: the life of a man of high caliber, whose character and major achievements are based on the principles of resilience, intellect, and unwavering integrity, dedicated to the betterment of society and future generations.

Professor Osuntokun’s ancestral lineage is a subject of the biography, revealing a family legacy steeped in resilience, leadership, and cultural pride. His predecessor, Aro-Ogeregere, a prince deprived of the right to the throne, chose to live as an exile rather than instigating a war, thus setting the tone for future generations. Dada, his descendant, did not differ in this aspect as he maintained fierce independence coupled with courage, thus becoming a leading figure in the Ekiti Parapo/Kiriji War, and he was famous for his astuteness as a commander and a soldier. Sapoloso-Ojo, the son of Dada, also followed a lineage tradition, fought in the British colonial army during World War I, and pioneered trade across regional borders. From the life of the Osuntokun family, something as simple as commitment to community, coupled with bravery and willingness to deal with hardships, was inherited from one generation to another. In addition to documenting Professor Osuntokun’s family origin, the author also underlines the firmness, the virtues, and the historical backgrounds that were part of his existence, explaining how the roots influenced his scholarly and moral character.

Professor Osuntokun’s primary education commenced at Holy Trinity Primary School Ilawe-Ekiti and later Emmanuel Primary School, where he performed excellently. During his early education, discipline, community values, hard work, and strong character were instilled in him, a standard that was taken to Christ’s School Ado-Ekiti when he transferred. As one of the most academically competitive schools well known for instilling discipline and morality, Christ’s School nurtured him through discipline, religious devotion, and cultural orientation. It was here that Osuntokun was able to cultivate a good dose of responsibility, hone competitiveness, and discover his intellectual standing. Another turning point was his move to Ibadan Grammar School for higher studies, which sharpened his analytical abilities and exposed him to more general intellectual difficulties. The high levels of education and quality leadership in these schools were central to his development of a view of the world, values, knowledge-seeking, and reformist attitude. As one can see from the biography, this period of his life also reveals a major theme of the work about the value of early education to later success.

When he got to the University of Ibadan, he intended to study geography, but he changed to History under the inspiration of the History professor, J.F Ade-Ajayi. Deeply involved in notions about nationalism and cultural identity during a moment of post-colonial intellectual enthusiasm, he was surrounded by an exciting academic setting. His stay at Ibadan was full of great discussions with similar spirits who shared a commitment to reshaping Nigeria’s future.

Professor Osuntokun’s advanced academic path started with the Killam Scholarship for Doctoral Studies at Dalhousie University in Canada, which offered him the opportunity to specialize in European, British, African, and Commonwealth history. His work on Nigeria in the First World War for his doctoral research entailed archival explorations in London, Hamburg, and Paris. In the biography, the focus is relevant to the discipline, depth, and historical analysis the completion of this project demanded, representing his skills in synthesizing complex historical narratives across international contexts.

The fact that out of all the students at Dalhousie, Osuntokun was one among the few ethnic minorities, not to mention doctoral candidates, put him in a particularly stimulating atmosphere. These developments enriched his academic experience by gaining multicultural perspectives, which deepened his understanding of colonialism’s history in Africa and its implications on the world.

After his Ph.D., Osuntokun’s academics led him to the University of the West Indies, where he pioneered the study of African history. His work in Barbados fulfilled both academic needs, reversed unproductive stereotype expectations from students, and provoked them with a positive outlook on African history. This formative period in his academic career, marked by international scholarship and teaching, established Osuntokun as a committed historian with a clear mission: to record and bring African voices and agency into the global discussion.

After his sojourn, Professor Osuntokun returned to Nigeria and was at the University of Ibadan, Jos campus, until he transferred to the University of Lagos. Indeed, his passion for academic excellence and intellectual rigor significantly impacted the landscape of universities across Nigeria. Quickly rising to be a powerful player in Nigerian academia, Osuntokun lectured with a dynamic style, combining historical insights with a critical viewpoint on Nigeria’s post-colonial difficulties. His lectures went beyond traditional history, often addressing issues of governance, nationalism, and ethics, shaping a generation of students who later became leaders across various fields. His influence extended beyond the classroom, as he was actively involved in curriculum development and mentorship, pushing for a rigorous academic standard in Nigerian institutions.

The biography highlights Osuntokun’s role in fostering intellectual discourse within Nigerian universities, establishing him as a committed educator dedicated to cultivating critical thinking and national awareness among his students. His contributions marked him as a transformative force in Nigeria’s academic development.

Professor Osuntokun’s tenure as Nigeria’s ambassador to Germany marked a notable chapter in his career, defined by diplomatic resilience and an unwavering sense of patriotism. Tasked with strengthening Nigeria’s relations abroad, he navigated complex political landscapes with tact, especially during periods of military dictatorship at home that often cast Nigeria in a challenging light internationally. His dedication to national integrity, even amidst these political tensions, underscored his commitment to representing Nigeria with dignity.

The biography portrays him as a diplomat deeply loyal to Nigeria’s interests, whose patriotism shaped his diplomatic strategy. This role expanded his influence beyond academia, reinforcing his dedication to Nigeria’s sovereignty and his role as a committed public servant.

Professor Osuntokun’s legacy is profound, spanning academia, diplomacy, and family life. As a scholar, he shaped Nigerian historical studies, advancing rigorous scholarship and mentoring generations of students who rose to leadership across various fields. His intellectual contributions enriched Nigeria’s academic landscape, promoting a nuanced understanding of Nigeria’s history and its role in global affairs. In diplomacy,

Osuntokun’s tenure as ambassador demonstrated his commitment to Nigeria’s sovereignty and reputation, marked by a sense of duty that transcended personal interest. His diplomatic engagements showed a balanced approach to representing national interests while addressing international concerns with integrity.
On the personal front, his dedication to family and moral values stands out, embodying the ideals of resilience and humility. The biography presents him as a role model, illustrating a life dedicated to service, intellectual growth, and patriotism. Osuntokun’s legacy continues to inspire, exemplifying the impact of a life devoted to both national progress and personal integrity.

The biography The Noble Academic and Patriot encapsulates Professor Osuntokun’s profound impact across academia, public service, and family life, preserving the legacy of a life steeped in intellectual pursuit, diplomatic integrity, and unwavering patriotism. His journey, marked by a dedication to Nigeria’s development and cultural preservation, offers an insightful reflection on what it means to serve one’s country through diverse roles.

This book not only documents Osuntokun’s accomplishments but also serves as a lasting tribute, offering future generations a model of resilience, leadership, and ethical commitment. Through detailed accounts of his academic rigor, diplomatic challenges, and personal principles, the biography immortalizes his ideals and contributions. It stands as an essential record, emphasizing his influence and the values he championed. In capturing his multifaceted legacy, the biography affirms his enduring relevance and underscores the transformative impact of his life’s work on Nigerian society and beyond.

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Opinion

My Ear, Coconut Oil And Magic Leaf (2)

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Readers’ Showers Of Encouragement
Prof. Tony Afejuku

By Tony Afejuku

When I set out to dwell on my ear ailment, my motive was simply to draw attention to my health predicament when I sensed that all was not seemingly well with me despite the medical remedies I underwent. That was on the one hand. On the second hand I was to awaken sympathy and feeling for my fellow compatriots who live among us beneath the poverty level and line, and who are incapable of buying drugs for their ailments because of the prohibitive costs of whatever drugs that may be prescribed for them. In any case, how many of them are capable enough in the real term and definition of their financial capability or capabilities? Under a system such as ours that is so horribly cruel and unjust and corrupt as to curtail and defeat and do away the good deeds and effects of helpers who can assist them as best as they could, all I could discern in the pharmacies and hospital I visited were things wrong, sorrowful and unspeakable. A number of them requested financial help from me – a fellow sufferer who did not allow his humanity to desert him – to buy medicines that were ineffective, and which they could not even pay for. Were the medicines in circulation genuine? Or were they adulterated as our corrupt system allowed the marketers to do as they pleased?

I am speaking like this because all the drugs I bought to give me relief and cure my ailment failed. They embarrassed me and the physicians who attended to me and prescribed my medicines. Their tides of medical interest and passion sustained my hope when the drugs failed. In my moments of ruminations I came to what I perceived as this inevitable conclusion: In present day Nigeria corruption is the ruler and inevitable king pin and dictator in the business and market of Western medical pharmaceutics. When my affected ear persistently kept its formation and falling of drops of pus-less, odour-less liquid, what did I do? I resorted to spiritual, and mystical thoughts and prayers for a solution. On more than one or two or three occasions I remembered and hummed quietly the following un-meandering melodic two lines:

“He shall deliver the needy when he crieth,
The poor, and him that hath no helper.”

Where the lines came from I could not (and still cannot) remember, so the source cannot be immediately referenced. All I can inform my readers now is that the melodic two lines contain powerful redeeming spiritual remedy that provided solution(s) that drew my ear from its house of bondage. As I hummed the lines a discernible shape formed by sequences of notes or musical sounds in the forms of calls and texts from my readers, constant and un-constant ones, flowed to me. I quoted some of them lavishly last Friday in this column. From the reactions or responses one could interpret that my health predicament proved to be some kind of despair to literary theoreticians and critics and a puzzle for social historians and prayer warriors. In their despair and puzzlement I discerned glaringly their compassion and humanity that pointed to the open sesame of my total healing. And when one of my spiritual and mystical helpers called to offer me spiritual healing, I had no cause to doubt him. Sehaji Jacob Oshodi was as mystically splendid as ever as Professor IBK, Barrister Rotimi-John Alade, Drs. Clement Odia, Albert Onobhayedo, Paul Onomuakpokpo, Professors Sonny Awheafeada, Owojecho Omoha, Omajuwa Igho Natufe, Dan Amadi and Mr. Saint Louis and Excel Rabiu’s fine instruments of aesthetic intelligence have been.

Everything I have said so far leads but to one end: the miracle of God, who actually has been (and is) the author of my column on health challenge and its metamorphosis. I am not the author, God is.

When I said that my earache had healed and was healing, I meant every word of it. Then the anti-biotic drugs and eardrops I was taking were working but not optimally so until some inscrutable phenomenon in the form of a female voice was sent by who else but God (?) to offer me coconut therapy. How to prepare it was given as exactly how to insert the curative juice into my ailing, sick right ear. When I did not get properly each stage of the preparation of the remedy, my total half who would work out the preparation –steps and -stages and details took over from me the diligent duty of listening to the caller who requested for anonymity here. To shorten the story, we did as instructed for full seven days. Throughout the day of bright light everything seemed to work out perfectly: no dripping liquid, no feeling of un-wellness, and no sign of discomfiture. But in the night, everything went back (or so it seemed) to point zero. The temptation to lose faith in God laid claim to my faith in Him. But this was not for long. A dramatic occurrence lashed out at my impatience. Something always must happen to a man of faith before triumph is realized. The ringing in my right ear, and the unusual sensation inside of it must cease and halt themselves. So help me God!

Believe it or not, God, in my impatient or desperate or despairing state, sent me some fish out of water in the person of my boy, a Barrister-at-law, and a researcher into several things outside his primary professional field and line of engagement. He knew of my ailment ab-initio. But he wanted the physicians to finish what they needed to finish before he would step in if there was need for him to do so.

Our family doctor after getting the result of the laboratory swab (test) of my affected ear, confirmed that what my right ear had was not a bacterial, but a fungal infection. The eardrops and pertinent medicines he prescribed for the treatment and effective cure did not do what they were expected to do. My boy took over from there. What did he recommend? Nature’s treatment in the form of a local lily-like leaf everywhere about us. It is common and looks ordinary. But it is a leaf of curative magic, and it is powerfully so. This very green leaf which I have since christened as tropical (Nigerian) local lilly-pilly. My boy got just one leaf, heated it with a lighter and then squeezed the averagely hot juice dripping from it into the aching ear. That was it. Of course, he did so every morning and evening for three days in the first instance. The effect was instantaneously instantaneous. In fact, its instantaneity was the instantaneity of instantaneity! Everything, or almost everything, uncanny concerning my aching right ear stopped. I was no longer a half hearer of things and sounds from my right ear. My hearing was now full and total. It has remained so.

By now my ENT specialist/expert, a retired professor who was out of my orbit had returned. Quickly, I dashed to see him even though my boy advised otherwise. After his examination with his audiometer he gave each ear, each of my beautiful camels, a very clean bill of health. The inner ear was freely free, that is, problem free. The outer ear of my affected camel was inflamed as a result of the fungal infection. His conclusion was that whatever cure from nature I got outside Western medical field was something he could not but extol. However, to subdue the inflammation he prescribed two eardrops. I bought them. My son objected to my using them. His lilly-pilly would take care of the inflammation which he also saw – in any case, when he was applying it. My young chap was correct. His God-sent fish out of water has proved miraculous. Troy will not fall again. My camels are galloping like buoyant horses. I am fully and fully healed.

Thank you, dear my readers all for your understanding and humanity for the past six or so hefty weeks of my doubts, despair, depression and solitude. And to God, the author, who chose me as the medium of His will to tell this tale, what do I say?

Concluded.
Afejuku can be reached via 08055213059.

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