Literature

By Abdullahi Yusuf Tela

Introduction 

In many societies, women are constantly reminded of their roles as wives and mothers. They are saddled with the responsibilities of producing and nurturing children and caring for the home. Over the years, however, women have embarked on a struggle aimed at affirming their identities while at the same time doing all they can to transform the societal, cultural, or traditional perceptions of their gender. Women are striving very hard to change these perceptions through education and by creating awareness.

Female writers have significantly helped by making the female characters in their works more prominent. They aim to have female characters that are powerful and outspoken. This is because women in most male writings are often illustrated as subservient. 

In 1966, Flora Nwapa broke the silence of women by publishing her first novel, Efuru, inspiring other female writers. These women used literature to explain the state of their societies, either good or bad, and the importance of female existence in society. These feminist writers include Zaynab Alkali, Buchi Emecheta, Mobolaji Adenubi, and Hilary Rouse-Amadi.

Notably, Azizah, like other female writers, has been able to outline the following feminist angles in her book, A Sackful of Wishes.   

Cultural Feminism:

Cultural feminism celebrates human attributes in women. It focuses on the feminist virtues by celebrating the positive sides of women. In A Sackful of Wishes of Azizah Idris M., Inna Binta, Hadiza’s mother, is a character who portrays aspects of cultural feminism. Inna Binta is a calm, reserved woman who faces a lot of tragedies as a new bride to Mallam Musa. She is hated and manipulated by her co-wife, Mairo Lauje. Inna Binta’s character shows a woman with patience despite the confrontations she faced from Mama Mairo. Cultural feminism believes that there is strength in a woman’s silence. They see the strength in women in the face of oppression. 

Hadiza’s mother, Inna Binta, could endure hardship from her co-wife or return to her parents. Binta remains strong even when Mairo Lauje makes her evil plot to charm her into never staying in Mal Musa’s house. 

Despite all the plots, Binta says, “It’s okay, I can do that . . .as long as she lets me stay with you. You are worth it.”

It is evident from the above quote that Binta, as being put in the cultural feminism, wanted peace for herself, her husband, and her children; that was why she heeded Mama Mairo’s deal. At this point, the cultural feminists view the mother’s strength as crucial. “Mothers have to be strong to take on both roles, loving, protecting, and counselling in turns” (Ngcobo 536).

Marxist feminism: 

The Marxist feminist approach propounded by Karl Marx is embedded in this work. The author portrays Hadiza Musa as someone who earnestly wants to earn for herself and feed her children. When she faces hunger, starvation and poverty, Hadiza immediately engages in a skilled job to take care of her children. She was into plaiting people’s hair and got an immense reward in cash. Hadiza becomes her own woman, independently sourcing and feeding herself and her children. 

It should be noted that Marxist feminists connect the oppression of women to social exploitation and oppression. A Sackful of Wishes by Azizah Idris M. majorly portrays an oppression of the female gender. According to Sotunsa, Marxist feminists believe that male domination is one of the societal ills, and gender oppression must be overcome to overcome societal ills. Hadiza resists the dominance of her husband, AR, whom society believes she needs to bow to. In the text, Hadiza says:  

“I want to start a business.” 

“I don’t have enough money, but I have skill in weaving hair. So, I’m going to start making people’s hair, I want your permission.” (129)

When her husband, AZ, decides to stop her, Hadiza says:

You can’t stop me, you know. You don’t feed me, nor clothe me, you don’t know how I buy my detergent or my body cream or provide the needs of Maahir. You just go out and come home. Some nights, you would try to come near me. Why do you think I got the money for those perfumes and creams that make me feel smooth and appealing to you? You either man up and hold on to your responsibilities or you let me start a business. (129)    

Fortunately for Hadiza, she wins the battle to make people’s hair after Umma Sala, Abdurrazak’s mother, intervenes.   

In portraying her bizarre situation, Hadiza was quoted as thus: 

I resorted to selling two of my wrappers from Mahir’s naming gifts to buy some foodstuffs since I was so heavy, I could not plait my customers’ hair at this stage. I found it difficult to sit for long. They did not sell for much. I saved some of the cash because I knew my situation, and I could need it anytime. I bought some spaghetti and vegetables. My sisters came to check on me the next day. We ate and chatted, and I even gave them some transport fare. Nobody would think things were amiss in my house. (141) 

Another portrayal of Marxist feminism in the text is in the character of Umma Sala, Abdurrazak’s mother. Umma is the boss of the house because her husband, Abdurrazak’s father, is not earning much, and she’s making money with her food business. 

As it turns out, Umma took over control of the house. With her business as a food vendor and other small businesses, whenever she did something in the house, she billed it to Baffa. Whether he had it or not, he would pay when he got some money. 

Radical Feminism: 

A Sackful of Wishes by Azizah Idris M. portrays richly a form of radical feminist approach. Radical feminists view society fundamentally as a patriarchy in which men dominate and oppress women. According to Shulamith Firestone, radical feminists seek to abolish the patriarchy in a struggle to liberate women and girls from an unjust society by challenging existing social norms and institutions. This struggle includes opposing the sexual objectification of women, raising public awareness about such issues as rape and violence against women. 

The central character, Hadiza Musa, exhibits a taste of radical feminism as a woman who mysteriously falls in love with a man so obsessed with her that Hadiza rebels against her husband’s oppressive behaviours. The radical feminism inked in the work portrays Hadiza as a woman who stays firmly and fights against starvation, rape, humiliation, and disrespect from her husband and, subsequently, his. Hadiza Musa rebels to the extent that she leaves her husband’s house several times out of her mother’s frustration and anger. 

Hadiza states that: 

I was fed up with my life. I was just twenty-five years old, but I had seen the difficulties of a sixty-year-old’s lifetime. I did not put on fancy clothes, nor did make-up appeal to me. I had forgotten how to laugh heartily, my soul was a wreck, my spirit in shambles. I was a walking time bomb waiting to explore. The things I bore in my chest were unimaginable. I had a sackful of wishes that I craved, that I needed to explore but could not do that because I was a coward. There, that’s it. (172)

Her rebellious act makes her stand tall against society, which tends to make her return to her horrible marriage. With the assistance of her brother, Yusuf, Hadiza can take the matter to court. She perseveres despite the intricacies of her husband, Abdurrazak, until she finally gets a favourable judgment dissolving the marriage.  

Conclusion

A Sackful of Wishes is one of the many texts that portray the difficulties, hardships, pain, angst, and oppression women experience in their marriages. It is one of the works that uses a feminist approach to fight for women’s freedom and free them from society’s shackles. 

Thus, it is evident from the text that there still exists a repressive and hostile environment against women. The text shows how young Hadiza faces and traverses through oppression and pain from her psychopath husband and his mother. 

Abdullahi Yusuf Tela wrote via abdullahiyusuftela@yahoo.com.

By Aisha Musa Auyo

Dear Dad, I can’t believe you’ve left this world

Earlier today, I found myself

Praying for your health

Instead of praying for your Rahma and Ghuffar

In my subconsciousness

You’re still alive

I’m still in the denial stage of my grief

It’s unbelievable, the man that brought me into this world

The man who loves me from day one

The man who nurtured me day and night

Even after my marriage

He never let go of me

Is no more to see me grow

His dreams for me were larger than life

His belief in me was stronger than rock

His patience with me was deeper than the ocean

His respect for me was limitless like air

Dear Dad, I tried to move on from your death, as you would have loved me to

But I couldn’t escape the reality that my hero was gone

During the day I’m mostly fine

During the night it’s a different story

Only God knows the silent tears I’ve shed

The numerous plates I’ve broken

The countless foods I’ve burnt

The tiny cuts on my fingers

As I tried to move on from your death

Dear Dad, I was told your grave was full of water

That I should be happy, it’s a sign of Rahma

But this news tore my heart

As I imagine you inside the mud

Alone in your grave

But I learned that,

Your Ruuh is with our Lord

It’s just your body under the mud

Dear Dad, I was reminded that you lived a fulfilled life

Reached the pinnacle of your profession

Touched thousands of souls

Mentored countless lives

Fathered numerous of us

Built dreams and hope for others

Cemented relationships and communities

That your life is a dream of many

The smiling scholar as they named you

Yet, I still hoped you were here

To witness my PhD viva

To witness that big appointment you’ve always envisioned for me

To witness the marriage of all your kids

The successes of all your kids

But Allah’s timing is never to be questioned

And in His will, we were together

Few hours before your death

And your parting words: ‘Allah Yai muku albarka’

Will forever echo in my ears

For you’ve repeated it too many times at that moment

The prayers are too much I thought to myself

Not knowing that was the last thing I’d hear from you

Dear Dad, till we meet in Jannah I would say

For I hope writing this poem

Will give me closure

Will make me accept the reality

That you’re no more with us

That you’re in a better place

That you’re in light and peace Bi iznillah

By Sa’adatu Aliyu

It was in the harmattan of December 2023. My siblings and I were at home when my elder sister, the firstborn, called to update us on her husband’s current state.

He had recently undergone surgery and was back home recovering with his family. I couldn’t tell whether she spoke calmly or sounded agitated when she called my brother on the phone. But as soon as he hung up, he said she told him that her husband’s sickness had resurfaced, and they were heading to the hospital.

Aside from my faith in God that everything would be fine, I remained calm because I believed it was normal for people to fall ill from time to time. Sometimes, the illness may be severe, and other times, it may not, but eventually, everything will be fine. I held onto this thought as I continued eating my plate of boiled yam.

But shortly after, my brother called back to ask what was happening, as anxiety was starting to get the better of him. I kept eating the soft yam with a sprinkling of oil and “yaji” while my brother waited for my sister to answer the phone.

“Ya rasu, he’s dead,” she said as soon as she picked up the phone. My brother then softly exclaimed, “From Allah we are and to Him is our return.”

Since I hadn’t considered the possibility of death in our family and had taken the illness lightly – I mean, I, too, have undergone surgery before – my brother’s words didn’t immediately make me think of death. But I couldn’t explain why my heart sank in terror despite my attempt to brush it off. However, I carefully got out of bed and went to the parlour to ask what was happening.

My brother told me that she said he had passed away. I said, “From Allah we are and to Him is our return,” knowing that after this, I wouldn’t return to eating my yam and that it would be a long night.

This was the only thing I had the strength to do. While I watched my younger siblings break into tears and the news spread to the rest of the world, I pretended to be strong. I wanted to be strong. I couldn’t wail like others. Despite being known as the emotional one in the house, I was unusually calm. I easily shed tears over the slightest pain, but I didn’t cry when I heard the news of my sister’s husband’s death, a man who had loved and treated us well.

Later, I realized it had been three to four months since I last saw him physically. I had been studying in my first year of master’s at university, and due to my health issues and other reasons, I couldn’t visit his house.

Afterwards, I realized I had let many memories of him slip away due to forgetfulness. When the announcement of his death came, I struggled to recall even his appearance. I don’t know if this is a form of betrayal. However, after time had somewhat eased our loss, I began to feel a little bereaved. At least I remembered that he fervently supported my writing and had confidence in my ability to succeed in the literary world.

Then, something gripped me. I felt hollow, like a bottomless abyss, suddenly doubting my ability to be the great writer he always praised. I felt like I had betrayed him. I couldn’t shed a tear, only once, and it was when I went to console my sister, and she expressed gratitude to her siblings for being there. Now, my dreams felt hollow, no longer worth pursuing. He called me “our writer” with delight in his eyes and pride in his voice.

However, perhaps I didn’t break down at his death news because I’ve learned to be a pillar for my family to lean on. Maybe I knew that showing blatant grief would break us all. But this death arrested me unexpectedly, making me exhibit a composure that felt real when it was just a mask. It stole my reason to pray consciously for him despite him being a loved one. It reinforced the reality of death as our eventuality and the need to move on, which I tried to do, perhaps too early.

However, I know the fatality of my emotions. Or perhaps I’d changed as a human being, embarrassed to be perceived as emotional, and had become so cruel and cold in this December harmattan because I’d been accused in the past by people I loved of being too emotional. Ever since maybe I’d subconsciously vowed never to show weakness in the face of adversity. Whatever it may be, now I know that I may never forgive those who have accused me of being too emotional because they’ve essentially succeeded in making me a little less compassionate and merciful.

And if this is just one of those things death does to people – causing them to evolve – then I’ve seen such change in my sister. After spending a month in her house during the mourning period, I saw her sometimes hiding her tears as she remembered her now late husband and sometimes reaching for her phone to place a call to her husband to ask for the location of something she couldn’t find in the house before she remembered he was no more. I’ve since noticed new things about her. She would hide her phone underneath the bed every night when she was about to sleep and ask if I did the same with my phone. “My husband always did that to keep away from robbers in case of a break-in,” she would look at me and say. I didn’t know what to tell her.

She cooked spaghetti differently from how we cooked in our house before she was married. She would say, “The foaming top of the ogbono soup must disappear before it’s ready to be eaten.” She did other things I’ll call strange, only because her husband did them. Sometimes, they were against my liking, but I reasoned that perhaps the death of a loved one altered us in ways I could not comprehend. Maybe she held on to those things, even though they sometimes felt strange – a museum of special memories of him that were quickly within reach.

Though I was numb for days after his death, it wasn’t until recently that I was able to pray for him consciously. I hope I’ll pay his rightful due to him, my fervent supporter. May Allah have mercy on him, amin.

Sa’adatu Aliyu is a writer from Zaria. She is currently pursuing an M.A. in Literature at Ahmadu Bello University, where she also works as a lecturer at the Distance Learning Centre. Her writing interests include Prose fiction and International politics. She can be reached at Saadatualiyu36@gmail.com.

By Aliyu Idris

Engausa is a new emerging phenomenon that involves code switching and code mixing in English and Hausa. It’s a creative bilingual blend encompassing importance, uniqueness, and sending a message using a fusion of two popular languages (Hausa and English). It’s another genre of poetry and writing with its peculiarities. Its linguistic efforts are not to create a phenomenon that is Hausa or English but to create a genre that’s genuinely “Engausa.”

Khalid Imam and Ola Ifatimehin worked to establish a new writing phenomenon in the atmosphere of writing. After submission, they edited the ENGAUSA poetry anthology titled KWARAPTION.

Kwaraption Engausa Anthology is a poetry anthology comprising fifty-one poems penned by forty-five teeming poets. Various notable works of art have been produced on corruption in Nigeria. The poems in this anthology were written in various styles, from traditional to experimental, and they reflect the diverse voices and experiences of the poets.

One of the anthology’s strengths is its focus on Engausa poetry. Engausa is a hybrid form of poetry that blends Hausa and English languages. It is a relatively new and still evolving form of writing. The anthology features several poems in Engausa, allowing readers to experience this unique and dynamic form of writing.

The poems provide readers with a vast knowledge of Nigerian richness and valuable resources, but they’re not properly managed and are embezzled due to corruption. They also portray corruption as a major hindrance to the country’s progress, lament the nation’s current status, and inquire when corruption will end. The poems highlight many causes of corruption and its consequences.

The poets come from various backgrounds and experiences, and their poems reflect this diversity. The anthology features poems from established and emerging poets, which shows diversity in the anthology.

They try to display the pervasiveness of corruption in all parts of the country. Clearly, corruption was endemic but has now metamorphosed into an unending pandemic that continues to destroy the nation’s advancement. Several instances of the poem address corruption in different sectors of life, ranging from offices to hospitals to markets to politics to schools.

Kwaraption Engausa: An Anthology of Poems is a valuable contribution to Nigerian and Hausa literature and literature at large. It is a must-read for anyone interested in contemporary Nigerian poetry or the Engausa form of poetry as a newly branded way of writing.

Aliyu Idris wrote via aliyuidris063@gmail.com.

By Abdullahi Khairalla

I am not a huge fan of reviewing books that come my way because of personal reasons, but this time around, I felt compelled to share some major lessons and takeaway from a book I personally found rich in ideas for building and shaping leadership journey of any aspiring leader across different sectors.

“Lead Disruption” is a book written by Dr. Akin Oke with thrust and focus on providing a guide for exceptional leadership performance in this era of turbulence and uncertainty.

To begin with, the author began by establishing the fact that, the world today is faced with all kinds of disruptions, chaos occasioned by the accelerating rate of change and uncertainty in our hyperkinetic environments caused fundamentally by three seismic events:

• Global Health Pandemic(Covid-19)
  *Global reorganisation of work due to the adoption of new technologies and
• The ongoing geopolitical transformations across the globe (east/west tension).This according to him, summarises our world into VUCA meaning– Volatile, Uncertain, Complex and Ambiguous.

Additionally, recent predictions about the advance of the fourth industrial revolution indicate that the speed of change, uncertainty and disruption to businesses will continue to increase. The world will have to brace up for potential global economic recession and the effects of climate change due to the continued depletion of ozone layer. This rapid change taking place, will invariably displace the old order and that will require leaders who are well-packed and positioned with requisite skills to transit their businesses and societies into prosperity in line with the new realities.

It is not a matter of conjecture that the Covid-19 has taken the world by surprise and has shifted and dismantled many old conventions, practices and ways of doing things that had previously existed during the pre-Covid era in our business space, industries, government halls and social realm. One thing that stood out is the complete migration of human race into a technological world, work from home, a situation he terms as the “new normal”

To effectively provide effective leadership in light of the current precarious reality of our fast-paced world, the book outlines among other themes and concepts such as self-awareness, resilience, innovation quotient, empathy and effective communication as critical elements for leaders to navigate through the tough and murky waters of the VUCA world.

I will touch briefly on each of the concepts for the sake of time. Self-awareness is the bedrock of effective leadership. This is because effective leadership, begins with good self-leadership. For a leader, knowing yourself and staying true and authentic to oneself is one of the salient assets you need, to be able to lead others in times of uncertainty. Asking yourself how well do you know your personal traits, your strengths, weaknesses, values and preferences? are very critical for a leader that aspires to lead his people even in times of turbulence. Dr. Akin Oke gave an analogy of a dangerous turbulence called “clear-air” by aviators that airplanes face which occurs when the plane has stabilised and in the cruising altitude and is always difficult to predict as radars cannot signal it in advance.

At this point, pilots are not too concerned about it, because the body of the plane itself has the ability to come back to its original planned position based on the inherent strengths of the plane itself. “Aeronautical engineers call this ability positive stability and pilots will tell you that the secret lies within the complex technical configurations at work in-between the wings of the plane and the in the belly of fuselage. This is the same way ‘self-awareness works for a leader. Leaders should have this capacity within them-they must build that resilience within them, that positive stability. And you cannot do that without having a good configuration of yourself (you morality, integrity, honesty, etc)”

Again,self-awareness is very important as there is a strong nexus between private morality and public morality of a leader because his personality is molded by these two realities. Though, this assertion has met stiff criticism by some leaders who try to separate public morality from their private morality. Unfortunately, these two intertwined. While it’s true a leader is human like everyone else and is entitled to private life outside the public role, the reality is that the leader’s private life can have serious consequences on the larger society especially in terms of public perception or behaviour. A bigoted leader, for example, is unfit to lead a company or plural society made up of people of diverse inclinations, backgrounds and idiosyncrasies. This is because his professional sense of judgement will be affected. A bad father , would not be the ideal person to lead or speak to other about fatherhood or parenting,especially if his private life as a failed father is a matter of public knowledge.

Another key element highlighted in the book is of course ‘resilience ‘ which is about the ability of a leader to respond in a positive and constructive way to uncertainty. It is about adapting to a prompt change and capacity to bounce back after a setback. A leader is required to be resilient even in the face of towering threat and dilemma and do everything to emerge out of it. This of course led the author to introduce me to a concept previously unfamiliar to me ‘antifragility’ which is a notch higher than resilience. While resilience rests on the capacity to bounce back after a setback, antifragility has to do with not only bouncing back but how to learn to thrive in the face of adversity and uncertainty. Simply put ‘a resilient leader resists shocks and stays the same, the antifragile leader gets better”.

Equally, the author looks at the central role of innovation in propelling one to be an effective leader in times of disruptions such as the covid era. Innovative leadership lies in the ability of a leader to provide solutions that lead to improvement in the life of an organisation or society, using new ideas. Covid era is a referral case in point, with Zoom coming to the rescue of mankind at its most critical point of need. As a leader, your ability to generate breakthrough ideas that help and transform society at a time of needs and despair, speaks volume of you. Voltaire was right to say “no problem can withstand the assault of sustained thinking”

The last but not the least, among the tips reeled out by the author is “empathy”. This is about a leader putting himself in workers’ or subjects’ shoes to understand their emotions and feelings while ultimately providing solutions to them. He interestingly demonstrated how a leader with no empathy may receive vitriolic backlash by his subjects or workers. The case of Adams Osiomole in 2013 was cited when he was begged by a widow illegally selling wares by the roadside, where he told her to, “Go and die”.

Although Oshiomole’s outburst stemmed from his frustration as a leader trying to enforce street trading laws in a bid to make the city better, his unguarded utterance was met with widespread condemnation. He had to organise a highly publicised reunion with the widow barely a month later to apologise.

The book reached its climax on stressing the invaluable role of ‘communication’ in engendering effective leadership. Effective leadership communication is about transferring message in such a way that it can be understood by all the parties involved. The leader should take into the audience’s level of understanding and ability, especially by enhancing the clarity and unambiguousness of the every message transmitted to them.

Without effective communication, nothing gets done in a society especially in hours of uncertainty. An example of former governor of New Yoke Mr. Andrew Cuomo was drawn especially his daily Covid-19 briefings viewed globally via CNN which were source of information, direction and vision casting without leaving his subjects second-guessing on every next move. It enabled New Yorkers to have clear vision of the impact of the Covid Pandemic on the state of New York and probably America at large.

As far as I am concerned, Borno state governor Prof. Babagana Umara Zulum is also a shining example of effective leader even in moments of fear and despair. This could be seen during his frequent state-wide broadcast during the pandemic in English, Kanuri and Hausa respectively which provided hopes, empathy, details of infection rates, estimated death toll, that way, the people of Borno were able to make informed decisions towards slowing down the spread of the virus by complying the with Covid protocols and appreciate the need to endure tough lockdown restrictions. This is the essence of leadership communication.

Finally, providing tips for building effective communication in leadership by the author is just “an icing on the cake” these are; Affirming words or communication with action(behaviour of the leader), Demonstrate and Provide stories, anecdotes that inspire and motivate action, Communicate relentlessly, Active Listening and encouragement of inputs, Clarity, and simplicity in communication.

Abdullahi Khairalla writes from Maiduguri

Author: Richard Eaton

Number of Pages: 489

Date of Publication: 2019

Publisher: University of California Press

In case you’re too lazy to read the book: it is all about the time when Islam was the dominant ruling religion in the Indian subcontinent from the sociopolitical, economic and military perspectives.

This is a very interesting book that, according to the author, challenges some preconceived narratives and stereotypes on the complex interactions between India and the Persian-speaking world during the medieval period.

The book takes a long course into the political dynamics of the Persianate age, discussing the emergence of the Mughal empire, its spread and culmination as well as interplay with other contemporary gunpowder empires: Ottoman and the Safavid.

Naturally, any discussion on the emergence of the Mughal Empire must include a historical look at Timur, a controversial figure whom I believe many Western authors, unfairly criticize. Of course, there was an entire chapter dedicated to Abu al-Muzaffar Muhi-ad-Din Muhammad Bahadur Alamgir Aurangzeb Badshah al-Ghazi, under whose 49-year reign the Mughal empire reached its peak in terms of glory and geographical extent.

The author builds the bulk of his arguments upon a very deep historical background, and he closely examines the role of Persianate age in shaping religious and intellectual developments in India.

He also discusses the impact of Sufism on Indian society and explores how Persian texts played a crucial role in the spread of Islamic mysticism across the subcontinent. This way, the book provides insights into the assimilation of Persianate cultural practices into Indian religious traditions, such as the development of Persian-influenced styles of devotional poetry in languages like Urdu.

The author, Richard Eaton is an American historian at the University of Arizona.

Shamsuddeen Sani wrote from Kano, Nigeria.

By Sabiu Abdullahi 

The Flame Tree Writers’ Project, in partnership with the Heinrich Böll Foundation, has announced a call for applications for a writers’ workshop targeting emerging writers from Northern Nigeria.

The initiative aims to support young writers in honing their craft and envisioning a more democratic and peaceful Nigeria.

According to Abubakar Adam Ibrahim, founder of the Flame Tree Writers’ Project, “This has been a passion project of mine for so long, and I am excited that, with the support of the Heinrich Böll Foundation, it is coming to fruition.”

The workshop, scheduled for June 24–28, 2024, in Abuja, will be co-facilitated by NLNG Nigeria Prize–winning authors Abubakar Adam Ibrahim and Chika Unigwe.

Participants will receive guidance in writing a short story suitable for publication in an anthology. 

Ere Amachree, Program Manager at the Heinrich Böll Foundation, noted, “The foundation is excited about the Flame Tree Writers’ Project, as it advances our vision of promoting writing as a means of political expression, just like Heinrich Böll, the German writer after whom our foundation is named.” 

The call for applications is exclusively for writers from the 19 Northern States of Nigeria, aged between 18 and 35. Female emerging writers are strongly encouraged to apply. 

Interested participants must meet the eligibility criteria and submit their applications to flametreewritersproject@gmail.com by June 1, 2024. 

Encouraging writers to apply, Mr. Abubakar said, “It’s not just a workshop but a project that will publish the stories from the workshop in an anthology of new writing and get them into institutions of learning, where they will be taught as part of the growing and exciting corpus of literature from this part of the country.”

By Halima Ibrahim

Sheikh Ali Isa Ibrahim, also known as Pantami, a former Nigerian minister, called for a debate over his books. In response, Ibrahim Bello-Kano, a Professor of English from Bayero University Kano, called Pantami a “poor writer”. The rejoinder, as obtained by The Daily Reality, reads:

Now, I have a few points to make about Mr Pantami wishing or asking to debate his critics. But before my first point, let me say this. If the forwarded message on this platform is really from, or written by, Pantami, then it’s clear that he’s a poor writer and a shoddy thinker to boot.

Look at the poorly written prose and the ample indicators of the writer’s low critical thinking acumen.

So, back to my first point: millions of books and papers by living authors are reviewed across the writing and publishing world daily, but I’ve never heard of any serious writer or author asking to debate his or her reviewers or commentators on his or her book. Pantami’s demand to debate his critics is pretty odd for any sound academic or scholar.

Second, Reviews have a world of their own and are not personal or personalised pieces or responses.

Third, Pantami can respond to his critics in writing. This is quite acceptable. His quip that his critics should rather write their own books is powerful evidence of his being an alien to academic culture.

Fourth, the debate on skills versus degree qualification is an old one, since the 1950s. It was an old credo of American Pragmatism from William James to John Dewey (see, on this, Richard Rorty’s “Consequences of Pragmatism”, 1989). So, Pantami isn’t saying anything new. He’s, again, not conversant with the topic in Education, Pedagogy, or Teacher Training.

Fifth, Pantami is the typical semi-educated person who’s pained by ASUU’s rejection of his illegal Professorship and is desperate to soothe his badly bruised ego.

Sixth, his or the claim that his book is being translated into many other languages is either a lie or just an attempt to pass off his questioned erudition. Let him or his defenders mention or give evidence as to the languages that his book has been translated into. Just how many? It’s rare to see an author literally begging to debate his critics or reviewers in the immediate moment.

Finally, Pantami can have his dubious “bragging rights”, but that’s where his case properly belongs — bragging rights for a man whose ego and scholarly claims have been badly and justifiably bruised.

Indeed, the whole debate on skills and not just degrees was misconceived. Richard Rory in his book, “Consequences of Pragmatism” shows how skills as such and theoretical understanding or epistemic capacity cannot ever be separated. Pantami’s book was a cowardly critique of University academics in general. As a person, Pantami has had deep inferiority complexes relative to his more intellectual colleagues. That became worse after his illegal Professorship debacle, which was heavily criticized by many groups. The Latinate word TECHNE says it all. You learn to root knowledge in the very act of doing.

Conceptual thinking is always present, even in the so-called skills. Take a mechanic who has had long years of learning by doing. Yet that mechanic cannot now know about changes in technology in which one has to follow diagrams, instructions, and manuals to install an electric circuit or new nozzle equipment in a new model car. The best doctors or mechanics are those who keep abreast of theoretical or conceptual developments in their field. Skills are not enough. Theoretical understanding prepares one to adapt to a situation. Pantami is just flogging a dead worse.

Again, he’s not well versed in the very philosophy of action that he wrongly thinks comes before the episteme. Finally, what would Pantami say about a cutting-edge science called THEORETICAL PHYSICS?

By Prof. Abdalla Uba Adamu

She has done it again. She first did it in 1974/80. In 2024, she repeated it. The feat that no female northern Nigerian has ever performed. Hajiya Hafsatu Abdul Waheed (b. 1952, Kano, northern Nigeria) was the first woman creative fiction writer from northern Nigeria to be published in any language, although hers was in Hausa.

On 13th April 2024, she became the first female Muslim northern Nigerian to be honoured with D.Litt. (Honoris Causa “for the sake of the honour”) doctorate degree from a no less institution than the biggest online university in Africa, the National Open University of Nigeria (NOUN). This was at the 13th Convocation Ceremony of the university held on 13th April 2024 in Abuja, the main headquarters of the university.

In a way, Ms. AbdulWaheed represents a paradox. She is not Hausa or Hausa-Fulani. She is Fulani, pure and simple. She learnt Hausa only outside her family home, in school, but at home, it was Fulfulde all the way. Yet her creative writing has always been in Hausa, with the exception of one book of poetry in English and the recently published collection of short stories titled Sharo. Nothing in Fulfulde, though.

The common historical narrative on literary development in northern Nigeria was that a literary competition to encourage the reading culture among Hausa youth was organized by the Northern Nigerian Publishing Corporation (NNPC) in 1978. One of the entries, which was also one of the winners, was “So Aljannar Duniya” by Hafsatu Abdul Waheed. It was in the Hausa language. However, it would appear, according to Hafsatu herself, that she wrote the novel in 1972, and it was published in 1974.

It was, quite simply, the most radical novel in Hausa literary history. Even “Ƙarshen Alewa Ƙasa” by Bature Gagare (who died in 2002), an unconventional novel, , published in 1982 (as a result of a literary competition organized by the then Federal Department of Culture, Ministry of Social Welfare and Culture) did not come close. Curiously, they contrasted each other. Gagare’s novel is about the lost glory of the ‘original’ Hausa people—the Maguzawa. Hafsatu’s novel is about breaking the Pulaaku—the Fulani code of behaviour. Both Hafsatu and Gagare became spokespersons of their ethnicities.

So Aljannar Duniya is brash, bold, audacious, trenchant, and unapologetic. It is a declaration of war against Pulaaku. It was unarguably the first Fulani feminist tract written in Hausa. Hafsatu’s style and critique of tradition might be compared with those of Bilkisu Salisu Ahmed Funtuwa and Balaraba Ramat Yakubu. However, there are quite a few differences.

Despite its pioneering boldness, So Aljannar Duniya is difficult to read. Perhaps that was because the author started writing it while still in secondary school! Its narrative is often jumbled and non-linear. Understandable. It was written in anger, so words tend to wobble, but the message is clear. This is more so because it is ethnographic. Hafsatu wove a story around her sister, of course, a Fulani, who had every intention of marrying an ‘alien’—an Arab from Libya. So Aljannar Duniya is, therefore, a true story, spiced up by fictional elements to convey a message. As I said before, it is a feminist tract.

Balaraba Rama Yakubu, however, writes in a deeply engaging mature and absorptive style with plenty of hooks. For instance, “Wa Zai Auri Jahila?”, which I consider her best novel, is dark and deeply disturbing narrative of what in contemporary feminist Woke world would be considered an injustice to women, especially young girls in a traditional African society.

Although Novian Whitsitt, who did his PhD on Balaraba’s novels, referred to it as ‘feminist’ I disagreed with him. I labelled her works ‘womanist’, after Alice Walker’s short story, ‘Coming Apart’ (1979). As explained elsewhere, “a womanist is committed to the survival of both males and females and desires a world where men and women can coexist while maintaining their cultural distinctiveness.” This inclusion of men provides women with an opportunity to address gender oppression without directly attacking men (Adamu 2003). Balaraba reflects this in her novels, especially “Alhaki Kwikuyo” (translated by Aliyu Kamal and published by Blaft Books in India). Can’t say much about Bilkisu Funtuwa’s books, though, as I have never read any.

But Hafsatu AbdulWaheed is a feminist—at least as portrayed in So Aljannar Duniya. The plot revolves around a young Fulani lady who wants to marry an ‘alien’ (Arab) from Libya. In real life, Hafsatu’s elder sister. Their parents rejected the idea. The plot of the novel does away with the Fulani Pulaaku and introduces a brash, assertive, loud and anti-establishment heroine, Boɗaɗo, who, armed with a degree in Pharmaceutical Sciences, comes back to her village to set up a drug store (called Chemists in Nigeria, a bit like Walgreens) and introduces her fiancé—all un-lady like behaviours in the Fulani mindset.

Thus, she discards the Fulani munyal (self-control), semteende (modesty) and hakkillo (wisdom)—central components of Pulaaku—and declares, openly, her love for an “alien” in her auntie’s presence! The opening dialogue from the novel sets the pace in which Boɗaɗo, speaking, informs her aunt:

(Hau) Aure! Inna ni fa na gaya muku ba zan auri kowa ba sai wanda nake so. Kun san zamani ya sake.

(trans) Marriage! Aunty, I have told you that I will only marry the man I love. You know times have changed.

Such direct confrontation in a Fulani village was uncommon and reflects the author’s autobiographical rebellion against tradition. Her aunt—delegated to mediate in these matters on behalf of the protagonist’s mother—is shocked. As she lamented:

(Hau) Mhm! Wannan zamani, Allah Ya saukaka. Yarinya ki zauna kina zancen auren ki, sai ka ce hirar nono da mai. Don haka fa ba ma son sa ɗiyar mu makarantar boko. In kun yi karatu sai ku ce kun fi kowa. Me kuka ɗauke mu ne?

(trans) Mhm. These are difficult times. May Allah save us. Listen to you talk about your marriage as if you are talking about milk and butter. That is why we don’t want to send our daughters to school. After you finish, you feel superior to everyone. What do you take us for?

A battleground and the rules of engagement have been established—female empowerment through education—and Hafsatu chose the most conservative arena: a Fulani settlement, considered generally more trenchant about Pulaaku than urban Fulani. Additionally, the novel’s subtext of rebellion against arranged and forced marriage underscores Hafsatu’s acerbic demand for personal choice in marital affairs by women. It was a template for rebellion.

Another contrast between Hafsatu’s So Aljannar Duniya and Balaraba’s Wai Zai Auri Jahila? is in the choice of careers. Hafsatu chose Pharmacy for her protagonist, while Balaraba made her own a nurse. Pharmacy was a profession in the period, and by making her character a pharmacist, she thrusts Boɗaɗo into a man’s world to compete equally with men. Balaraba, on the other hand, by making her character a nurse instead of a doctor, maintains the womanist ethos of an achieving woman in a male-dominated society, fitting in with career stereotypes of women in caring professions.

The success of So Aljannar Duniya sent a message to the budding Hausa literati to pick up their pens and set to work—thus spawning a genre which t revolutionized the Hausa literary landscape in contemporary times.. Furthermore, the combined effects of the harsh economic realities of the 1980s (the decade of military coups and counter-coups in Nigeria) ensured reduced parental responsibility in the martial affairs of their children. Therefore, fantasy, media parenting, especially Hindi films, anti-authority and a loud, persistent message from bursting testosterones in a conservative society that sees strict gender separation combined to present Hausa youth with soyayya (romance) as the central template for creative fiction. It was a safety valve to repressed sexuality.

Hafsatu’s radicalism, however, did not end at rebellion against arranged or forced marriage for women. At one stage she declared to run for the office of the Governor of Zamfara State. This was provoked by a statement by the sitting governor that there were no educated women in the state. To prove him wrong, she decided to campaign for his chair! She even made posters, but was asked by her father to stop. At least, she had made a statement. Furthermore, her real-life echoes Boɗaɗo’s—she was also married to an ‘alien’ from the Middle East (a Syrian). Incidentally, it was a marriage that took her to Gusau, the Zamfara State capital, and I had the pleasure of meeting her late husband, Malam Ahmad Abdul Waheed, during a British Council “Intensities in Ten Cities” Islamophobia tour on 9th July 2003. Both Hafsatu and her husband were born and raised in Kano. It was his career that took them to Gusau.

In literary circles, she also has a voice. For one, she used to assiduously attend every single literary convention anywhere it was held. As part of ANA Kano activities, we were together in Niamey and Maraɗi in Niger Republic at various times to attend international conventions of Hausa writers. She never tired of attending and actively participating. Wonderful enough, she often went with her children and grandchildren, showing them the way. It is little wonder that some of these children became well-celebrated in their chosen professions—for they had a strong role model at home. A good example is her eldest daughter, Kadaria Ahmad, the award-winning journalist who owns and runs the NOW FM radio station in Lagos.

Thus, the recognition of the pioneering efforts of Hafsatu AbdulWaheed by the National Open University of Nigeria (NOUN) on 13th April 2024 during the university’s 13th Convocation was a salute not only to the resilience of feminist women but also to all Hausa language writers of both genders. As far as I know, she was the first female Muslim Fulani (or Hausa) writer to be so honoured by any university in Nigeria. She has, therefore, entered the history books. She is truly a woman of substance.

References.

Adamu, Abdalla Uba. “Parallel Worlds: Reflective Womanism in Balaraba Ramat Yakubu’s Ina Son Sa Haka.” JENDA: A Journal of Culture and African Women Studies, no. 4 (2003). https://bit.ly/3Q2gNlY.

Whitsitt, Novian. Kano Market Literature and the Construction of Hausa-Islamic Feminism A Contrast in Feminist Perspectives of Balaraba Ramat Yakubu and Bilkisu Ahmed Funtuwa. PhD dissertation, University of Wisconsin, 2000.

By Muhammad Sani Usman

If you are an introvert and, worst of all, you don’t want to go out and meet strangers, or you are not financially stable enough to explore the world you romanticise in your head, then you should read fictional books.

Consider The Kite Runner by Khaled Hosseini for a unique perspective on Afghanistan. Unlike the war-torn image often portrayed in American movies, Hossien’s narrative paints a different picture. He depicts a flowing country, with small boys flying kites in the streets of Kabul and the vibrant Afghan holidays like Nowruz. 

You will learn about friends and kinship. There is Amir, the privileged son of a wealthy businessman, and Hassan, the son of their family servant, who grew up together in Kabul. Despite their different social statuses, they are inseparable as children. They spend their days flying kites, with Hassan being the best kite runner, always ready to retrieve the kite Amir cuts down. 

If you don’t know what betrayal is by a friend, then you should look at how Amir witnesses Hassan being sexually assaulted but chooses to do nothing out of fear and selfishness. This event haunts Amir, leading to guilt and a sense of betrayal that defines much of his life.

If you are still wondering about the lengths people go to with the ones they love, you will see how Amir chooses to marry Soraya (his girlfriend), accepting her past and the societal judgment that comes with it. In essence, you will see matured and refined love between Hassan and Soraya.

You will only get all this information from creative writers pushing the world close to you. 

Muhammad Sani Usman wrote muhdusman1999@gmail.com.