‘And they will soon know that, unlike seeds that germinate from the earth, corpses do not sprout from ashes.’
Two half-brothers, Okote and Oyesllo, former military individuals, find themselves propelled into roles as representatives for opposing political entities – UPP and DPA. For Oyesllo, assuming the role of a representative becomes a pathway to mend his fractured self and pride. In contrast, Okote perceives politics as a platform to combat systemic injustices, particularly seeking redress for the unjust demise of their mother. Embracing these political factions results in a confrontation between the brothers, driven by their individual convictions. However, they soon realize that the bestowed positions hold the potential to profoundly shape their lives, either positively or negatively.
At the heart of this narrative resides the theme of familial discord and self-centeredness. Both brothers, while endeavouring to rationalize their choices, turn to politics as a means to reconstruct their wounded identities and shattered egos. Oyesllo, in a somewhat light-hearted manner, shares with his wife, Nmade, the sentiment of being a “wounded man, almost utterly broken. This politics is my rehabilitation.” Yet, it becomes apparent that Oyesllo’s primary aim is to rebuild his reputation, notably following his unrewarded military service.
While Okote’s political pursuit may appear justified, he proves to harbor a degree of self-centeredness akin to his half-brother. Influenced by the admiration of women, especially by Matefi, he swiftly succumbs to the allure of power and becomes oblivious to his father’s warnings.
The motives behind Okote and Oyesllo’s actions are complex and rooted in their familial relationship. Despite sharing a common parent, an intrinsic rivalry simmers between them, especially fueled by their father’s evident favoritism. This pursuit of attention becomes a fertile ground for jealousy in Oyesllo, prompting him to align with the opposition to address what he perceives as his brother Okote’s undue favor. This familial discord opens a crack, enabling political lizards to infiltrate their lives.
The substantial roles women play in this saga are pivotal to its progression. They are instrumental in persuading Okote to enter politics with their eloquent and convincing arguments, breaking down his initial defense of “I am not a politician.”
While Okote and Oyesllo remain oblivious to their parties’ intentions, Nmade consistently warns her husband about the true motives of the women, spearheaded by Matefi, whom she believes harbor ill intentions toward their family.
Addressing Matefi, the leader of the women, she queries, “…why do you wish to set our family ablaze?” Bulu, though not as assertive as Nmade, also fears that nothing good comes out of politicking. She contemplates leaving her boyfriend with their pregnancy because she is afraid of raising an orphan.
The voice of their mother, who the reader gets exposed to through element of flashback, serves as the matriarch in this play. She communicates through Nmade via dreams, foretelling the impending dangers ahead of them, albeit in a somewhat esoteric language.
The play delves into the impact of age on the exercise of authority. Pa Nyimenu, a former activist and head of Grit—an association committed to addressing societal injustices—finds himself powerless as his family begins to unravel. Despite his efforts to quell the impending familial turmoil, he falls short, unable to wield the same authority he once held in his youth. Irrespective, he confirms the proverbial assertation in the African mileau of the elderly possessing certain clairvoyant gifts which cannot be accessed by younger generations.
In the face of political manoeuvres, Pa Nyimenu –father of Oyesllo and Okoto – perceives them as potential instruments for dismantling his family. He tells Oyesllo emphatically, “Forgiveness is not forgetfulness.” Demonstrating an acute understanding of political mechanisms, he discerns the intentions of those responsible for his wife’s demise as an orchestrated attempt to obliterate his family.
The narrative delves into the intricacies of family dynamics and the political arena. The author portrays the grim underbelly of politics, exposing it as a realm rife with manipulation. Through the dialogues among the influential figures within the political parties, the reader witnesses how politics, ostensibly intended for societal improvement, becomes a game of vendetta in the hands of politicians. Their objectives primarily revolve around eliminating opposition rather than enhancing the populace’s living standards. The metaphor of the touts and their leader, White-Eye, underscores this narrative.
In alignment with didactic and verisimilitude elements in literature, the scenes painted within the narrative resonate vividly with readers familiar with electoral processes. Moreover, the play remains didactic and entertaining, interweaving elements of humour, notably present in the exchanges between Nmade and Oyesllo in the second scene. The narrative’s richness lies in its utilization of antithesis and allusions, heightening its aesthetic. Additionally, commencing the play from its conclusion captivates the reader’s attention and amplifies the tension.
Obari Gomba masterfully refrains from casting either brother into the simplistic roles of hero or villain. His narrative skillfully plunges into the intricacies of human nature, revealing that responses to external stimuli are, at their core, manifestations of internal conflicts. Obari’s exploration of political themes avoids clichés and mechanical storytelling, ensuring the play maintains its freshness and authenticity. In this captivating narrative, he weaves a tapestry that transcends age, making it accessible and enjoyable for readers of any generation to connect with. The characters are artfully presented, allowing readers to intimately identify with their struggles, indecisions, and actions. As the story concludes, Obari Gomba leaves us with a resonant reminder that, in the complex dance of life, there are no simple heroes
or villains—only individuals navigating the intricate interplay of their own humanity.
Grit by Obari Gomba won this year’s NLNG PRIZE FOR LITERATURE.
Evidence Egwuono
Adjarho Evidence Egwuono is the winner of the 2023 Ken-Saro Wiwa Prize for Book Review nabbing it with this review of Grit. She is an undergraduate student of English at the University of Lagos. An avid reader, skilled book reviewer, and a budding novelist, her works have appeared in The Kalahari review, Readers Boon and soon-to-be in WSA-Nigeria magazine. She also recently won the Atipo Prize for Book Review. Besides reading and writing, she enjoys socializing and meeting new people!