Literature

By Aliyu Idris

Damage is Abubakar Adam Ibrahim’s third novel and fifth book. It is a social novel written in twenty-two unequal chapters, set in post-colonial Nigeria during the heated military years spanning the last days of General Ibrahim Badamasi Babangida through the General Sani Abacha years, and back to the present day.

It accounts for the life of Rn. Nasrin Amin, a woman who carried a secret pain through decades of dictatorship and brutality. She was sexually assaulted by an army veteran, General Shehu Jarumai, while searching for her husband’s freedom, trying to secure the release of Aliyu Bello from Abacha’s men. She decides to speak out against Jarumai’s tyranny, which wants his secret buried. And when she does, she drags three generations with her.

For almost three decades, we have been told to move on. To forget military brutality, to forget the khaki years, to forget the frightening knocks on the door and abductions at midnight.

In addition, June 12, 1993 was the day Nasrin cast her first vote. She and her heartthrob, Aliyu Bello, thought that the election would change Nigeria. She was voting for herself. For her heart, for a new dawn, for love, for a future, for a country she believed would finally love her back.

Then one brutal night takes it all. That is the heart of Damage. Not the coup, not the annulment, not the years that followed, but what one night does to a woman and her entire clan, and how that wound keeps bleeding for 30 years.

Similarly, it bleeds into the life of her second husband, Bashar, and her children like Mustapha, the rational dreamer, who thinks logic can save a family that runs on secrets, until he meets a wound that logic cannot touch. Suraj, the second child, the awaiting soldier, who wants to become the very thing that broke his mother. Zubaida, the youngest daughter, who stands with her mother in the turbulence.

They are all haunted by one question: Who is this man (Jarumai) who caused their mother’s pain and is the frontrunner of the brutal occurrences that cost the life of their father, Aliyu Bello?

Moreover, the novel explores how our system, power structures, culture, and orientation aid and abet perpetrators. It asks a devastating question: What does justice look like when silence has already stolen so much?

When Nasrin finally waited decades to speak, the country had already moved on. But the memories kept haunting her, while the perpetrator had entirely forgotten her and the incident.

We are a new generation born after June 12, 1993, who think June 12 is just a public holiday. We don’t know or ask how people like Nasrin get justice after memory itself has been damaged.

No wonder Chika Unigwe calls it “a powerful and unforgettable story of love, loss, inherited trauma, and the relentless pursuit of justice.”

And Helon Habila is right to say you dig deep into characters’ motivations like few can. This is far beyond Season of Crimson Blossoms and When We Were Fireflies. This is his most political and most personal book yet.

As the author opined in his Line of Sight column, “The victims are bold and resolute, but the perpetrators don’t even know they are victims too, victims of the power they serve.”

Damage is not just about what was done to Nasrin on that night, or the arrest and detention of her late husband, Aliyu Bello. It is about the experiences of families with military brutalities, what it means to seek revenge, to love, to lose, to feel guilt and conviction. This is not a book about soldiers in power. It is a book about what soldiers left in us.

If Season of Crimson Blossoms was about forbidden love and When We Were Fireflies was about memory, Damage is where Abubakar fuses both concerns into something enormous.

For me, Damage is the novelist’s best work yet because it refuses to let us do what we do best as Nigerians: move on without processing. It is a story about the cost of memory, the inheritance of pain, and, as the blurb says, the fragile hope that love might endure even after everything else is broken.

To sum it up, it is an easy read with many literary tropes. It is a necessary one to read because it reminds us where we came from as a nation. It is for the generation that was brutalised and learned to be silent. For the generation that inherited the silence without knowing why. And for the generation born under democracy, the one now raising kids, the one that thinks it can romanticise military rule because they never lived it.

And in a move that will unsettle many readers, the perpetrators are also damaged. Not innocently damaged by the system they served, by their own avarice, by a military that victimised Nigeria and, in doing so, victimised itself. Just like General Jarumai and Bankole. This is what elevates it beyond a simple trauma narrative.

Aliyu Idris can be reached via aliyuidris063@gmail.com.

By Sabiu Abdullahi

A South African author who has published more than 370 books in about 20 months using artificial intelligence (AI) has defended her writing process amid growing criticism of AI-generated literature.

Coral Hart, a pseudonym adopted to protect her real identity, said she had received tens of thousands of hostile messages and several death threats over her use of AI in producing books.

The author, who is in her 40s, has become a prominent figure in the debate over the role of artificial intelligence in the publishing industry.

Speaking in an interview with Agence France-Presse (AFP), Hart said she decided to speak publicly about her methods because she believes the technology is becoming an established part of publishing and cannot simply be dismissed.

“I chose to be the one to step up and say, these are conversations we need to start having,” she said. “This is here… They’re not going to switch it off or unplug it because a bunch of authors said so.”

Hart had worked in publishing for 14 years before she began using AI to write books around February 2025. She said she had also written several dozen works without the technology.

According to the author, she spent three months learning how to work with different AI models and developing a system capable of generating books based on detailed instructions.

Her process involves creating the story concept, defining the writing style, developing characters and preparing chapter outlines before using AI to generate the manuscript.

She said advances in AI had significantly improved the process, allowing her to move from generating individual paragraphs through repeated prompts to producing an entire book draft in one sequence.

Hart uses different AI models for different tasks, arguing that each has particular strengths and weaknesses in areas such as dialogue, prose, story structure and explicit romantic scenes.

She also acknowledged that AI-generated first drafts often require substantial editing.

Her manuscripts go through further AI-assisted reviews to address continuity problems, incomplete character development, dropped plotlines and weaknesses in the story. A human proofreader then reviews the text, corrects remaining issues and makes additional changes where necessary.

Millions of books sold

Hart said she had published 371 titles, many of them romance novels, and estimated that she had sold more than one million copies across digital, print and audio formats.

She also claimed to have earned more than US$1 million in 2026 so far. One of her novels reportedly reached Amazon’s top 100 bestsellers, although she said many of her titles were developed for specific readerships through extensive market research.

Beyond her own publishing activities, Hart said she had trained several hundred people in her approach and was preparing to launch Authorythm, software designed for authors who use AI.

Despite the controversy, she said she generally discloses her use of AI only when required by a publishing or sales platform.

Hart said she had published under more than 10 other pen names and questioned why her creative process had attracted so much attention now, after years of working in publishing.

Debate over AI-generated literature

Critics have accused Hart of contributing to what is commonly described as “AI slop” — a term used for large volumes of AI-generated content considered low-quality or lacking originality.

However, she argued that commercial performance and readers’ responses should also be considered when assessing the quality of a book.

“Books are selling,” she said, adding that readers who find books unsatisfactory can return them.

The debate has intensified as publishers and literary institutions grapple with questions about originality, authorship, disclosure and the appropriate use of artificial intelligence in creative work.

Hart also referred to the controversy surrounding a novel by Haitian-Canadian writer Thelyson Orelien, which was withdrawn from the shortlist for France’s prestigious Goncourt Prize following allegations of AI use. According to the report, the author’s publisher confirmed the use of AI on October 21, 2026.

Hart questioned whether some readers rejected works because of their actual quality or because they knew AI had been involved in producing them.

“If you need an AI label to hate something, do you hate it, or do you hate AI?” she asked.

Her case highlights a growing divide in the publishing world between those who view AI as a useful writing and editing tool and those concerned about its potential effects on literary originality, professional authors and the value of human creativity.

As AI tools become more capable, the debate is likely to centre increasingly on transparency, editorial responsibility and how readers and publishers define authorship in an industry undergoing rapid technological change.

The Daily Reality

By Hadiza Abdulkadir

A highly anticipated publishing deal worth more than $2 million for Nigerian author Jerry Falade has collapsed after allegations that artificial intelligence (AI) may have been used in the creation of his debut crime novel, Call Me, I’ll Hide the Body.

The manuscript had attracted intense interest from publishers, with a 14-way bidding contest reportedly leading to a multimillion-dollar offer from a major U.S. publisher. However, Falade’s literary agents withdrew the novel after stating they could no longer verify that the manuscript had been written without AI assistance.

Falade has strongly denied the allegations, insisting that he wrote the novel himself. He has also argued that the accusations reflect racial bias within the publishing industry, claiming that Black authors face greater scrutiny over AI use than their white counterparts.

The controversy has sparked fresh debate about the growing role of AI in creative writing and the challenges publishers face in verifying the originality of manuscripts. It also highlights increasing concerns within the global publishing industry over authorship, copyright, and the ethical use of generative AI.

By Khadijat Abdulrasheed

Not every pain is loud. Some are hidden behind smiles, silent prayers, and eyes that have cried when no one was watching.

The book Tears They Never Saw is a deeply emotional and faith-driven story that explores the unseen struggles people endure in silence. It reflects heartbreak, emotional wounds, family trials, and the kind of suffering that the world often ignores but Allah never does.

At the heart of this story is a powerful message: the strength of dua (prayer) and its life-changing power. It shows that even when situations seem impossible and when hope feels lost, sincere prayer can rewrite destinies. Tears that fall in secret are never wasted when they are poured out before Allah.

Through compelling storytelling and relatable characters, this work reveals how faith becomes a lifeline in the darkest moments. It reminds readers that healing, mercy, and change can come in ways that human understanding cannot explain.

Tears They Never Saw is not just a story; it is a reflection of real-life struggles, silent battles, and the unseen strength of those who keep going despite pain. It carries a message of patience, hope, and divine intervention.

This book is for readers interested in a full emotional and spiritual journey that blends reality with faith. Anyone interested in reading the complete work can reach out directly for access.

Because sometimes, the tears no one sees… are the ones Allah answers most.

Khadijat can be reached via abdulrasheedkhadijatkuburah@gmail.com.

By Muhammad Abbas

Once, in a land as far as you could imagine, there lived a boy called Usman. He was a thirteen-year-old boy with a strikingly handsome face and glowing eyes. Usman wasn’t just a normal kid; he was different.

At a very young age, Usman could already solve complex equations, and that made him stand out among his mates.

Usman’s father, Alhaji Sani, and his mother, Hajiya Zainab, were very rich, but Usman didn’t really care about his parents’ wealth.

Even when his parents offered to take him to school in their Rolls-Royce, he would tell them he would rather go on the bus like other students.

Usman went to one of the best schools in town called Arewa Fields Academy. It was a world-class school with some of the best facilities, such as an advanced robotics lab, digital views of space and the ocean, modern classrooms, and world-class sports facilities.

However, Usman never really liked the school very much. He preferred to go to a normal school with normal classes and live a normal life like other children.

One day, Usman’s father suddenly became very sick. It was a serious and chronic illness that needed urgent medical attention. The family rushed to find help, but there was a big problem.

Their village, called Garin Dutsi, had only one medical doctor, and unfortunately the doctor was not in town that day.

People tried their best to help Alhaji Sani, but the illness became worse. Sadly, Usman’s father did not survive.

After the funeral, Usman cried until he had no tears left. He loved his father deeply and missed him every day. But that painful moment also made him think about something very important.

He realized that if there had been more doctors in the village, maybe his father and many other people could have been saved.

That night, Usman made a promise to himself. He decided that one day he would become a doctor so that he could help people in places where medical care was difficult to find.

Years passed, and Usman worked very hard in his studies. Eventually, he finished university with a first-class degree in medicine. People admired his intelligence and his determination.

When he finally became a doctor, Usman chose to return to villages like Garin Dutsi, where many people still struggled to find medical care.

He treated the sick, helped families, and trained young health workers so that communities would never again suffer because there were not enough doctors.

Usman never forgot his father, and the memory of that difficult day always reminded him why he chose to become a doctor.

And that is the story of a kid with a dream who grew up to help others.


Muhammad Abbas is an aspiring writer, a secondary school student, and lives in Kano.

By Harajana Umar Ragada

The offer felt like a golden ticket. A celebrated Nigerian celebrity was hosting a festival and needed a spoken word documentary. For a talented artist in Northern Nigeria, this was the sought-after break, a chance to step into a national spotlight reserved for the chosen few. She believed in her craft, and she said yes.

The project was defined: two videos, one in Hausa, one in English, featuring her voice and her performance. She submitted her fees, a fair reflection of her skill. The project manager’s reassurance was smooth, hinging on the host’s lofty reputation. “Trust the process,” she was told. And so, she did.

She requested an advance to book studio time. A partial payment was made to her, but it was insufficient and did not cover Abuja’s professional studio rates. She dipped into her own resources to make it work. When the video shoot approached, another surprise: she was to supply her own costume due to “budget constraints.” Professional to her core, she invested in the perfect attire, believing her dedication would be honoured.

Then, the turnaround. After she sent the final recordings, she was called upon that the celebrity’s sister would headline the Hausa version. Her role was being reduced to just the English piece. She objected firmly; this was not their agreement, and her payment was still pending. After tense negotiations, a new, fragile deal was struck: she would be credited as a collaborator, and nothing would be posted without her approval.

On a sunny afternoon, they summoned her to the Art and Craft Village for the shoot. When she arrived, she found them already filming the sister. When she reminded them of their terms, the promises flowed anew: payment after filming, glowing accolades, and the full weight of the celebrity’s influence to boost her career. Placing her trust in that stature one more time, she completed the work.

What followed was a masterclass in creative exploitation. They chipped away at her agreed rate, pleading budgetary limitations. They sold her on a future of unlocked doors and dazzling opportunities, convincing her to accept far less, to trade monetary value for the currency of exposure and credit. She acquiesced, hoping the recognition would be worth it.

Months slipped by without the remaining payment. After persistent appeals, another fraction of the sum arrived. Weary, she let it go, choosing peace over a protracted fight.

Then the video was live. And as she watched, a cold realisation settled in. Every name was listed in the credits… except hers. Her voice filled the piece, but she had been erased completely. Not a mention, not a link, not a trace. The feeling was a hollow mix of betrayal and devaluation; she had been used and then discarded.

This story is not a solitary lament. It is the shared refrain of countless creatives. Like Abdulmajid Gambo Danbaba, a poet from Katsina, who discovered his deeply personal poem “I am Me,” born of his childhood struggles, and proudly posted it on another man’s Facebook page, claiming it as his own. The confrontation was messy, requiring the threat of legal action to force an apology and a takedown.

These are the everyday hazards in the digital marketplace of ideas, where work is copied, credit is stolen, and promises are broken. So, what can be done?

Navigating the Minefield: Wisdom from the Frontlines

We turned to experts to demystify the path from vulnerability to empowerment.

Dr. Ismail Bala, a renowned poet and critic, frames the issue clearly. He defines creative exploitation as using another’s work without payment or permission, and plagiarism as outright theft of authorship. His advice is twofold: vigilance and formalisation. “Copyright your work,” he urges. “And move beyond handshake deals. Any collaboration needs a legal contract, however simple.”

The consequences, he notes, are both emotional and economic; a loss of confidence and a loss of livelihood. While social media democratizes sharing, it also facilitates this theft. The remedy, he states, is a cultural shift toward fundamental respect, acknowledging sources and compensating creators fairly.

Muhammed Bello Buhari, a digital rights activist, frames this not as a mere commercial issue but as a human right. “Your creativity is your voice. To steal it is to strip you of your agency and dignity,” he explains. International law protects the moral and material interests of creators, but the systems are often skewed toward those with power and lawyers.

He highlights the legal grey zone that creatives must navigate. “The law protects your specific expression, not the general idea. Someone can mimic your style without crossing a legal line, which is why documentation is your greatest weapon.”

Buhari champions the “paper trail.” Your drafts, timestamped files, and email records become irrefutable proof of ownership. “That version history is your shield,” he says.

MB Buhari recommends a practical toolkit for every creator:

1. Document Everything: Create a “receipt culture.” Save early drafts, note creation dates, and follow up verbal agreements with a confirming email or message.

2. Mark Your Territory: Use the copyright symbol (©) on your work. It’s a simple but clear signal of ownership.

3. Have the “Terms” Talk: Before sharing work, state clearly how it can be used. A simple text message can form a basic contract.

4. Leverage Community and Platforms: Use the court of public opinion respectfully but firmly. Know how to issue a DMCA takedown notice on social platforms to remove stolen content.

5. Embrace Simple Contracts: Outline collaboration terms, ownership, and credit in writing. “A contract is a seatbelt for your creativity,” Buhari notes.

6. Seek Strength in Numbers: Join creative associations and leverage pro-bono legal networks. There is power in collective advocacy.

The Northern Star: A Community’s Victory

The most powerful chapter in this story is its conclusion. When the spoken word artist was erased, she did not stay silent. She shared her story. And the Northern creative community erupted. They became her amplifiers, her defenders, and her unyielding support system. Through poems, posts, and shared outrage, they applied a pressure that no individual could. Faced with this unified front, the celebrity apologised.

This is the ultimate blueprint. The fight against exploitation is not a solo journey. It is fought by building a community that values integrity over influence, that champions credit over “exposure,” and that stands as a united front against those who would diminish their peers. It is about transforming individual vulnerability into collective, unshakeable strength.

Harajana Umar Ragada wrote via kharajnah@gmail.com.

By Khadijat Abdulrasheed

A short play on Peer Pressure, Courage, Confidence, and Modesty.

CHARACTERS:

 1. Amina: Hijabi girl, shy but spiritually strong. Calm and polite.

 2. Toke: Trendy, confident girl who loves teasing others. Loud and playful.

 3. Zee: A follower. Often supports Toke but watches and thinks deeply.

 4. Teacher Fatima: A teacher who is Kind, firm, and respected.

SCENE 1: School Corridor (After Break)

[The school bell rings. Students return from break. Some are laughing, others are walking in groups. Amina walks in quietly, her hijab well-arranged. Toke and Zee stroll in together, looking fashionable.]

TOKE

(laughing loudly)

Ha! See our aunty again. Amina, the hijab ambassador! You no dey ever gree show small swag?

ZEE

Her own swag na hijab and long skirt. Babe, this is 2025 o, not 1925!

TOKE

(pretending to whisper)

Na only God go help her. Fashion don pass her by.

AMINA

At least I cover myself the way Allah wants. That’s my absolute confidence.

TOKE

Confidence ke? You dey hide beauty under a scarf. If I get your fine face, I go use am blow on IG! You go just dey hear likes everywhere.

AMINA

But if beauty is only for likes… what happens when you lose followers?

ZEE

She get point o.

TOKE

Abeg joor. I no get time for all this hijabi wisdom. Let’s go jare.

[Toke and Zee walk off. Amina walks the other way with a peaceful look.]

SCENE 2: Classroom, Next Day

[Students are chatting. Teacher Fatima walks in. The class becomes quiet.]

TEACHER FATIMA

Good morning, class.

STUDENTS

Good morning, ma.

TEACHER FATIMA

Today, I want to talk to you about something important, which is Dignity in Modesty.

(She pauses)

Modesty is not weakness. It’s not for the old. It’s not backwardness.

It is honour and it is strength. Prophet Muhammad (SAW) said Modesty is part of faith.

Even when people laugh at you… be like Maryam (AS). She was mocked, but she remained pure and firm.

We dress modestly, not because we are ashamed of our beauty but because we are grateful for it.

[Amina listens with a soft smile. Toke shifts uncomfortably. Zee watches them both.]

SCENE 3: Corridor After Class

[The students come out. Amina is by her locker. Toke hesitates, then walks up to her.]

TOKE

Uhm… Amina.

AMINA

(looks up, smiling)

Yes?

TOKE

About yesterday… I was just catching cruise, but… You really dey try sha.

AMINA

It’s not me. It is Allah who gives strength.

TOKE

(chuckles)

I wish I could get your kind courage. Me, I dey fear people’s opinion die.

AMINA

You can ask Allah for strength, too. He listens.

ZEE

Maybe courage is not about talking loudly. It may be about standing firm.

[They all walk off slowly. Peaceful music fades in.]

SCENE 4: Two Weeks Later, School Debate Competition

[The school is holding a debate. Topic: “True Confidence From Appearance or Inner Values?” Amina and Toke are in the same group. The hall is packed. Teacher Fatima is in the audience.]

TOKE

(nervously looking at Amina)

I have never joined anything like this before.

AMINA

You will do well. Just speak the truth from your heart.

[Toke steps up, clearing her throat. She speaks slowly.]

TOKE

Before, I thought confidence was how you walk, dress, and trend online.

But I met someone who never followed the crowd… yet she stands taller than all of us. She wears her scarf with pride… and doesn’t need to shout to be heard.

That kind of confidence…

Comes from knowing who you are, not who people want you to be.

[The audience claps. Amina looks down shyly. Zee claps too, smiling proudly.]

SCENE 5: Corridor, After School

[Toke, Amina, and Zee walk together. Toke now wears a scarf, not a full hijab, but modest.]

ZEE

Wonders shall never end. Our slay queen don join hijab squad.

TOKE

(laughs)

But honestly, I feel freer and more comfortable.

AMINA

That’s because obedience to Allah removes the burden of impressing people.

ZEE

And between peer pressure and modesty… I think we know who really won.

TOKE

Modesty won because it gave me peace. Not pressure.

[Teacher Fatima walks by slowly and overhears. She stops and smiles.]

TEACHER FATIMA

When a heart chooses Allah over people, that heart has already won.

(she looks at them all)

May Allah keep your steps firm. Always.

ALL THREE GIRLS

Ameen.

[They walk off together, smiling. This time, not as different girls, but as sisters.]

✨ THE END

MORAL MESSAGE:

Modesty is not a cage. It is not something that locks you away or hides your beauty in shame. It is an honour, a beautiful shield that protects your dignity, your heart and your purpose. It is a quiet strength that says, I know my worth and I choose to honour it the way my Creator wants. True confidence is not found in the approval of the crowd, not in likes, not in views, and not in trends. Crowds change, opinions shift, but Allah’s pleasure never changes. When He is pleased with you, that is the highest success. Peer pressure is loud, it laughs, it whispers, and it tries to make you feel small for not joining the crowd. But modesty doesn’t need to shout. It walks calmly through the noise, stands firm, and in the end… it lasts longer.

By Muhammad Sulaiman

The Association of Nigerian Authors (ANA) has lauded President Bola Ahmed Tinubu for granting a posthumous pardon to the late Major-General Mamman Jiya Vatsa, a former Nigerian Army officer and acclaimed poet.

In a statement signed by ANA President, Dr Usman Oladipo Akanbi, and General Secretary, Dame Joan Oji, PhD, the Association described the gesture as a “commendable act of national healing” and a recognition of Vatsa’s enduring contributions to Nigerian arts and literature.

General Vatsa, who was executed in 1986 over alleged involvement in a coup plot, was one of ANA’s early leaders and a strong patron of the literary community. He was instrumental in securing the land for the Mamman Vatsa Writers’ Village in Abuja, a landmark project of the Association.

While expressing appreciation for the pardon, ANA maintained that Vatsa was wrongfully convicted, noting that his trial and execution were the result of “deliberate malice orchestrated by a perceived close associate.” The Association said the presidential pardon serves as a vindication of Vatsa’s innocence.

ANA further appealed to President Tinubu to direct that all the rights, privileges, and entitlements due to the late General be paid to his family as a gesture of justice, closure, and recognition of his service to the nation.

The Association concluded by thanking the President “for finally wiping the tears of the Mamman Vatsa family,” adding that the act will forever immortalise the legacy of the distinguished poet-soldier and patron of Nigerian literature.

By Bashir Uba Ibrahim, PhD.

Two weeks ago, I visited Prof. Isa Mukhtar after we concluded one of the parallel sessions organised for a national conference on the works of Aliyu Kamal, in which I served as a rapporteur. The event was held at the Department of Linguistics and Foreign Languages, which was renamed the Department of Linguistics and Translation following the unbundling and upgrade of the former Faculty of Arts and Islamic Studies to the College of Arts and Islamic Studies.

Prof. Isa Mukhtar is one of the most academically generous teachers I know. After exchanging greetings, he gifted me his newly published book titled An Introductory Hausa Linguistics, which I intend to review here briefly. Unlike previous books on Hausa grammar and linguistics, Mukhtar, in this thirteen-chapter book, attempts to simplify the branches of linguistics by extensively drawing on examples from the Hausa language and redefining some linguistic terms. This review is by no means exhaustive or comprehensive, as it would be difficult to do full justice to the book in this limited space.

Chapter one, which is entitled ‘Views on the Origin of Language’ (Ra’ayoyi a kan Asalin Harshe), dissects some of the speculations regarding the origin of language. He addresses the speculations regarding the origin of language by citing Zarruk’s views on the phenomenon, including divine creation, man’s discovery, man’s invention, and man’s evolution from a human perspective. He thus attempts a glottochronological examination of Hausa and Amharic, the language of Ethiopia, and Hausa and Coptic, the language of Egypt, in his effort to relate the origin of Hausa with its cognate languages in Africa.

Chapter two, titled ‘Introduction to Language’ (Gabatarwa a kan Harshe), discusses various functions of language. Citing relevant examples from doyen linguists like Fowler (1974) and Leech (1974), he nominally examines the general functions of language, buttressing the thesis with examples from Hausa. The chapter also briefly explains numerous linguistic forms (nau’oi a cikin harshe) in which he shows arbitrary and non-arbitrary forms of language.

The third chapter is titled ‘Historical Linguistics and Stylistics’ (Tarihin Nazarin Harshe da Ilimin Salo). Here, the author provides a historical analysis of the origin and development of linguistics as a field of study from antiquity to the present day. Various schools and movements that shaped major linguistics trends and ideas, such as structuralism (bi-tsari) and its subsidiaries like the Copenhagen school (makarantar Copenhagen), American structural linguistics (Bi-tsari a marajtar harshe ta America), French structuralism (Bi-tsarin Faransa), Prague school (makaranyar Prague), rationalism (na tunani), and empiricism (gogayya). The chapter also attempts to link structuralism with stylistics by discussing some of the stylistics scholars influenced by structuralism, such as Charles Bally, Roman Jakobson, and Michael Riffaterre. These scholars developed their theory on the style of communication and contributed to generative stylistics.

Chapter four, ‘Functional Linguistics and Stylistics’ (Harshen Aiwatarwa da Ilimin Salo), builds on the previous chapter by examining stylistics (ilimin salo) from a systemic functional linguistics perspective. In this chapter, the writer attempts to appropriate Halliday’s theory of stylistics and apply it to Hausa data by extensively drawing examples from it. Thus, Halliday’s main conception of the stylistics function of language into ideational, interpersonal and textual was heavily domesticated and linked with Hausa.

The fifth chapter titled ‘Classification of African Languages’ (Rarrabewa Tsakanin Harsunan Afirka). In this chapter, the author bases his classification of African languages on Greenberg (1966), in which he classified African languages into four phyla, namely, Afro-Asiatic, Khoisan, Niger-Congo and Nilo-Saharan. He attempts to trace the Hausa language to the West-Chadic branch of the Afro-Asiatic language family. He establishes its relationship with cognate languages in Nigeria, such as Bole, Kare-Kare, Warji, Ron, and Bade.

Chapter six, which is entitled ‘Syntax and Grammar’ (Ginin Jumla da Nahawu), makes a historical examination of grammar from a Greek grammarian, Dionysius Thrax, traditional grammar (Nahawun gargajiya), structural grammar (nahawun bi-tsari), finite state grammar (nahawun kwakkwafi), phrase structure grammar (tsarin nahawun yankin jumla), generative grammar (nahawun tsirau), transformational grammar (nahawun rikida/taciya), transformational generative grammar (nahawun taciya mai tsira), etc.

The seventh chapter, ‘Advanced Syntax’ (Babban Nazarin Ilimin Harshe) served as a build on its preceding chapter. The chapter makes a deeper examination of the extended standard theory by Chomsky, looking at Government and Binding Theory of Syntax and its application in the Hausa language. While chapter eight, which is titled ‘Issues in Hausa Syntax’ (Muhimman al’amura a tsarin jumla), builds on the previous one by examining extended standard theory and its syntactic operators and how they can be applied in Hausa.

Chapter nine, which is entitled ‘Phonetics and Phonology’ (furuci da sauti), makes an extensive examination into Hausa phonetics and phonology. It looks at articulatory, acoustic, and auditory phonetics, drawing heavily from Sani (2010). It also discusses Hausa phonological inventories and processes as the backbone of generative phonology, such as assimilation, dissimilation, palatalisation, labialisation, nasalisation, metathesis, polarisation, etc. Meanwhile, chapter ten titled ‘Morphology’ (Ilimin Tasarifi) discusses Hausa morphological structure, morphemes, types of morphemes, criteria for identification of morphemes, morphological processes and word formation processes by citing Abubakar (2001) to exemplify his discussion.

 Chapter eleven, ‘Dialectology’ (Ilimin Karin Harshe), explores the relationship between language and society by examining major sociolinguistic aspects and relating them to Hausa languages, including argot, slang, jargon, sociolects, Hausa dialect variety, and language and culture. Chapter twelve, which is entitled ‘Semantics’ (Ilimin Ma’ana), makes a historical examination of the term ‘semantics’ and shows how it is problematic in relation to linguistic analysis. The chapter also examines the relationship between semantics and linguistics, as well as Hausa semantic change, collocations, componential analysis, speech-act, descriptive semantics, theoretical semantics, and general semantic theories. The chapter also delves into the relationship between semantics and other branches of linguistics, such as morphology, phonology, and syntax, in what can be called a ‘linguistic interface’. 

Meanwhile, the thirteenth chapter, which is the final chapter, is titled ‘Sociolinguistics’. It examines the issue of multilingualism in Nigeria, with Hausa as one of the major languages. It examines how sociolects served as social varieties of language that are determined by social factors rather than geography, citing examples with Hausar masu kudi, Hausar sarakai, Hausar malamai, Hausar ‘yan daba, Hausar likitoci, etc.

Overall, this book, intended as an introductory text, aims to acquaint readers with foundational topics in Hausa linguistics. Its straightforward presentation and accessible language make it especially useful for beginners. However, the author’s effort to simplify the content may have been overextended, leading to notable gaps. Crucially, important subfields such as psycholinguistics, neurolinguistics, applied linguistics, forensic linguistics, and computational linguistics are not mentioned at all.

Another significant omission is the absence of Ferguson (1970), particularly given the discussion on dialectology—a field in which Ferguson was a major contributor—as well as the exclusion of key works on Hausa dialectology such as Musa (1992). Similarly, in Chapter Twelve, the focus is limited to structural semantics, with no mention of Hausa cognitive semantics or relevant contributions like Bature (1991) and Almajir (2014).

The book appears to lean heavily towards stylistics and syntax, dedicating two chapters to the former and three to the latter, specifically Chapters Six through Eight. While these topics are undoubtedly important, the focus becomes somewhat disproportionate. For instance, in the discussion of Government and Binding Theory and complementation, the author omits important works such as Yalwa (1994), Issues in Hausa Complementation and Mukhtar (1991), Aspects of Morphosyntax of Hausa Functional Categories, both of which could have enriched the analysis from a Hausa linguistic perspective.

In conclusion, as Ibrahim (2008: 260) aptly states, “There is no perfect text. But as human life itself, the various imperfections of our life provide a constant challenge to us as scholars embroiled in the learning process.” Despite the criticisms above, Mukhtar’s ability to present complex topics clearly and subtly remains commendable. This book stands out as one of the more accessible introductory texts on Hausa linguistics, suitable for both students and newcomers to the field.

By Fatima Badawi

The Department of English and Literary Studies at Bayero University, Kano (BUK), successfully convened a two-day National Conference to critically examine and celebrate the prolific, well-grounded and giant literary works of the literary guru, Professor Aliyu Kamal, one of the Northern Nigeria’s most influential literary figures.

Held at the University’s Main Campus under the theme “Interdisciplinary perspectives on the works of Aliyu Kamal,” the conference attracted a diverse gathering of academics, writers, students, and family members of the prolific English author.

The event served as a significant platform to re-evaluate Kamal’s contributions to Nigerian literature and his unique portrayal of the socio-cultural dynamics of Northern Nigeria, which some view as Islamic genre.

The opening ceremony was chaired by the Vice-Chancellor of Bayero University, Professor Haruna Musa, who was represented by the Deputy Vice Chancellor Research and Development, Professor Amina Abubakar. In his address, the Vice-Chancellor commended the department for its initiative, stating that “Aliyu Kamal’s works are not merely stories; they are cultural archives that document the complexities, the joys, and the challenges of our society. This conference is a vital step in preserving our intellectual heritage, and it will pave way to getting a Nobel Laureate, starting from home.”

The keynote address was delivered by the renowned literary scholar, Professor Sani Abba Aliyu, mni. In a compelling presentation were he maintained that
Kamal possessed an uncanny ability to weave intricate tales that are simultaneously local and can equally be regarded as universal. His characters grapple with issues of modernity, tradition, governance, religion and personal identity in a way that resonates deeply across the Northern Nigerian landscape. He gave a distinct voice to the Northern Nigerian experience, ensuring it was an integral part of the national literary conversation.

Over the course of the conference, multiple lead papers featured presentations from scholars from various universities across the country. Papers explored diverse aspects of Kamal’s oeuvre, including feminist readings of his female characters, post-colonial interpretations of his narratives, stylistic and metaphorical analyses of his use of language, the Islamic genre and the philosophical underpinnings of his themes.

The Head of the Department of English and Literary Studies, Dr. A’isha Umar, in her remarks, described the conference as a resounding success. “Our objective was to ignite a renewed scholarly interest in Aliyu Kamal and to introduce his rich legacy to a new generation of students. We expect an overwhelming participation and the quality of discussions today and in the remaining days of the conference. This is not an end, but a beginning of a more sustained engagement with his works.”

Some of the participants urged that the papers presented should be compiled and published in an edited volume, ensuring that the critical insights generated would contribute to future scholarship on Nigerian literature. The event firmly re-established Aliyu Kamal’s position as a cornerstone of the nation’s literary canon.

The conference is still ongoing and it is expected to finish next Thursday.