HOW AFRICAN IS THE AFRICAN NOVEL? AN ANALYTICAL STUDY OF CHIGOZIE OBIOMA’S THE FISHERMEN AND AMMA DARKO’S FACELESS

There has been a lot of discussion about how African the African novel is, especially as it combines colonial literary frameworks with native African customs. Amma Darko’s Faceless and Chigozie Obioma’s The Fishermen are both powerful novels for examining this topic. Both novels, though having different subject and artistic approaches, capture what it means to write stories that are both profoundly anchored in African realities and address global issues. Using the writings and comments of other African authors to enhance the analysis, this essay explores how these works reinforce their Africanness through their themes, settings, cultural reflections, and narrative techniques. Themes Rooted in African Realities One of the most defining aspects of the African novel is its thematic preoccupation with the lived experiences of African people. In The Fishermen, Obioma explores familial bonds, fate, and societal fragmentation. The story is driven by a prophecy from Abulu, a madman, whose utterances lead to the unraveling of a family. This reflects a deeply African belief in the power of prophecy and spoken words, which often carry weighty consequences within traditional societies. Similarly, Chinua Achebe in Things Fall Apart emphasizes the disintegration of family and community under the weight of prophecy and external forces, showcasing how cultural beliefs shape the African worldview. In Faceless, Amma Darko shifts focus to the urban landscape of Accra, examining themes of poverty, gender inequality, and systemic neglect. Through the character of Fofo, a street child, Darko highlights the struggles of marginalized individuals, particularly women and children, in a patriarchal society. The novel’s portrayal of exploitation and resilience critiques structural failures in African urban centers. Similarly, Buchi Emecheta’s The Joys of Motherhood critiques the societal expectations placed on women, drawing attention to the gender inequalities embedded in African traditions and urban challenges. The Role of Setting in Establishing Africanness A key component of both novels’ Africanness is their settings. The Fishermen by Obioma takes place in the small Nigerian town of Akure. From the river where the titular fishermen cast their nets to the familial areas influenced by Igbo customs, the town’s physical and cultural surroundings is painstakingly described. A multi-layered portrayal of Nigerian life is produced by the juxtaposition between this rural setting and the country’s general political turmoil. Likewise, the Kenyan countryside is also used by Ngũgĩ wa Thiong’o in Weep Not, Child to illustrate how political and personal conflicts converge amid colonial upheavals. Conversely, Faceless is set in the bustling urban environment of Accra, specifically in areas like Sodom and Gomorrah; a notorious slums that reflect the socio-economic challenges of contemporary African cities. In addition to placing the story in Ghana, Darko’s detailed descriptions of these places, from the filth to the thriving informal economies, also make observations about the larger problems associated with urbanization in Africa. Similar to The Beautyful Ones Are Not Yet Born by Ayi Kwei Armah, Darko depicts the harsh reality of institutional corruption and urban deterioration in postcolonial Africa. Cultural and Social Contexts Both novels are deeply embedded in African cultural contexts. In The Fishermen, Obioma weaves Igbo proverbs, myths, and beliefs into the narrative. The figure of Abulu, for instance, embodies the dual nature attributed to lunacy in African societies as both a curse and a vessel for spiritual insight. The novel also engages with the concept of “chi” (personal god or destiny), which shapes the characters’ understanding of their lives and choices. In his writings, Achebe also examines the concept of “chi,” showing how African thought systems combine individual and collective fates. In a similar vein, Faceless draws on collective African values to attack patriarchal oppressive hierarchies. African societies’ communal mentality is reflected in the novel’s emphasis on group action, which is demonstrated by the media’s and organizations’ support of street children. Traditional African oral traditions, in which stories are frequently created and disseminated by the group, are reflected in Darko’s use of gossip and group storytelling. This aligns with Ngũgĩ wa Thiong’o’s advocacy for storytelling as a communal and political act, as highlighted in his essay collection Decolonising the Mind. Narrative Techniques and Storytelling Traditions The Africanness of Obioma and Darko’s writings is further highlighted by the narrative strategies they use. Benjamin, the youngest of four brothers, tells the story of Obioma’s The Fishermen. His innocent viewpoint is reminiscent of the oral storytelling tradition, in which stories are frequently transmitted to future generations. The story’s allegorical element, in which the fisherman represent Nigeria’s shattered unity, adds another level of African storytelling, in which stories frequently function as metaphors for more significant realities. This brings to mind Ben Okri’s The Famished Road, in which Yoruba cosmology is used to infuse the protagonist’s experiences with mysticism and metaphor. The disarray and instability of its protagonists’ lives are reflected in Darko’s Faceless’s fractured narrative structure. The dialogic character of African oral traditions is shown in the incorporation of interviews, collective voices, and evolving viewpoints. In addition to adding depth to the story, this diversity of perspectives places it inside a uniquely African storytelling framework. Similar to this, The Palm-Wine Drinkard by Amos Tutuola reflects the unpredictable nature of oral storytelling traditions through a flexible narrative structure. Universal Themes with African Nuances Both books deal with universal issues like family, identity, and the breakdown of society in a very African way. While Darko’s criticism of social neglect is closely related to the urban experience in Ghana, Obioma’s exploration of familial strife is rooted in Igbo traditional values. By localizing universal issues, the novels maintain their African character while yet being readable by readers around the world. Wole Soyinka’s writings, especially The Interpreters, similarly navigate this balance by examining universal themes from the perspectives of Nigerian reality and Yoruba culture. Conclusion Amma Darko’s Faceless and Chigozie Obioma’s The Fishermen are two works that perfectly capture the essence of the African novel through their inventive storytelling approaches, cultural richness, and examination of African reality. These books show that the African novel’s capacity to represent, analyze, and celebrate the continent’s complex realities is what truly distinguishes it, not just its geographic location. Drawing on the works and insights of Achebe, Ngũgĩ, Emecheta, and others, these novels show that the African novel retains its unique identity through its deep connection to African contexts, making it an indelible part of the global literary landscape.

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