DOCSLIB.ORG

Sneak Peak! Chapters

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sneak Peak! Chapters THE RETURN OF THE EARTH MOTHER SERIES: BOOK 1 DAUGHTERS OF NRI RENI K AMAYO PRAISE FOR DAUGHTERS OF NRI ‘Oh . my . goddesses! This book is something special. There is so much myth, fantasy and genuinely great storytelling packed into the pages of this novel. Excellent writing, brilliant book.’ Dorothy Koomson, Best-selling author ‘From a rich and deep culture, Amayo weaves a world of literary magic. Daughter’s of Nri is a beautifully written novel paving the way for a powerful collection to follow.’ Buzzfeed ‘A phenomenal debut from a brilliant writer which kept me on the edge of my seat from the first page. This is a beautiful story full of heritage, passion and bravery that every young black girl should read.’ Black Girl Book Club ‘With Daughters of Nri, Reni K Amayo conjures a magical world that truly centres black sisterhood. Combining lush prose with a fast-paced plot, this is one read that everyone – but especially black teens – will struggle to put down.’ Alex Sheppard, Author of ‘Oh My Gods’ ‘This book is a love letter to black women. It is beautifully written and its message is so powerful and incredibly important. Every black woman needs to read. We deserve this story.’ WCAN First published in Great Britain in 2019 by Onwe Press Ltd This paperback edition was first published in 2019 All rights reserved; no part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except for the use of brief quotations in a book review. Copyright © Reni K Amayo, 2019 Maps and graphics © Onwe Press, 2019 The rights of Reni K Amayo to be identified as the author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. Printed and bounded by Clays Printers (UK) Ltd. A CIP catalogue record for this book is available from the British Library. Paperback ISBN 978-1-91604-292-6 eBook ISBN 978-1-9160429-2-6 Hardback ISBN 978-1-9160429-3-3 This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out, or otherwise citculated without the publisher’s prior consent in any form of binding or cover other than in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser To my sisters, you deserve the world. THE TRIALS TO ALA Nsibidi of Soul Trial: She has seen her inner God Igbo translatiom: Chi Nsibidi of Ground Trial: She has spoken to the earth Igbo translatiom: Àlà Nsbidi of Air Trial: She has been carried by the air Igbo translatiom: Ikuku Nsbidi of Love Trial: She has given herself for another Igbo translatiom: Ihunaya Nsbidi of Death Trial: She has taken breath Igbo translatiom: O. nwu Nsibidi of Life Trial: She has created breath Igbo translatiom: Ndu. Nsibidi of Creation Trial: She has moulded beauty Igbo translatiom: Okike Nsibidi of Peace Trial: She has found freedom Igbo translatiom: Udo Nsibidi of Ala Trial: She has returned Igbo translatiom: Ala CHAPTER 1 THE BLACK AND GOLD ORACLE Akoko, 891 AD He stood outside the cave and took a deep breath, but the fresh night air did nothing to calm him. He tensed as the vine-covered entrance drew him closer. The hair on the back of his neck stood up as low, inhumane sounds from the creature within filtered through the moonlight. The Eze was not completely sure why he had chosen to leave the comfort of his akwa nest to wander into the starless night. He was neither intrigued nor was he curious. When the blubbering village chief had spoken about the mythical creature that his people had supposedly found earlier that day, the Eze had been filled with nothing but contempt. He had watched as the old chief ’s eyes had grown larger with greed; the man’s tongue had hung over his chapped lips and his fingers had rattled agitatedly. Chief Akunna was clearly hungry for recognition and thirsty for fame. His reckless rumour had brought the great Eze, the ruler of the entire kingdom, to his humble village, and now the chief ’s palms were laid open for a reward. If it is a reward you are seeking then you shall receive it, the Eze had thought as he’d considered killing the man right on the spot. But he had not. Instead the Eze had ended the conversation abruptly, with his right hand raised dismissively in 1 DAUGHTERS OF NRI the air. The chief had lowered his eyes, visibly withdrawing into himself as he recognised his mistake. The Eze’s eyes had glazed over the wide-eyed village folk. They’d stared back at the large, powerful man with whispers of the umu ada ogu, the lost goddesses, stuck in their throats. What did they know of the umu ada ogu? the Eze had reflected inwardly. He had regarded their simple expressions and frayed clothing, dulled by the red sand. They’d seemed to him like shadows of people, with no thought or life behind their eyes. He had found himself clenching his fists. ‘What a waste,’ he’d murmured as the village chief had cowered before him. The Eze had been certain that not one of these dull-eyed people had wandered further than the ten cubits of forest that enclosed them. It was simply impossible to believe that these were the same people that had somehow stumbled across one of the most majestic beings that had ever walked this earth. No living soul had laid eyes on the umu ada ogu in centuries. They, like all of the magical entities, had died with the Mother. He’d been certain that whatever the villagers had found and locked away was anything but an umu ada ogu. Yet here he was, standing alone outside the cave. He had closed his eyes to sleep that night but something strange had lain heavy on his soul. A low and inexplicable sound. It had drawn him from his nest and compelled him towards the cave. Now it crept, thick and dark, over his black skin. It tasted like fear. ‘Remember who you are,’ he said under his breath. ‘Remember what you have done,’ he added quietly. He stared blankly into the cave’s veiled mouth and took a deep breath. The Eze descended like a shadow, blending seamlessly with the deep black that met him. He hesitated in the nothingness for a brief moment, before taking another step forward. He waited. He could still hear the leaves rustling in the 2 THE BLACK AND GOLD ORACLE wind outside the cave, but everything was still within. He shook his head. What was he expecting to find here? ‘Nothing,’ he muttered. Just as he turned to leave, the air shifted. The Eze stood deathly still. Hushed whispers suddenly bounced off the walls like birds dashing through a summer sky. The sounds started slow and low before growing in intensity and speed. ‘Ke iso Ala.’ ‘Ikenga.’ ‘Ekwensu.’ ‘Amadioha.’ ‘Anyanwu.’ ‘Agwu.’ The whispers crept closer and closer to him, until they suddenly stopped and the cave fell back into silence. The Eze turned around as a heavy sigh was released into the air, and watched as two shadows materialised before merging into what appeared to be a woman seated cross-legged on the ground. Her eyes were shut and her bare black skin was outlined by a golden glow. ‘So it’s true,’ he said, bewildered. ‘Aljanes.u-ojo.o.. You have finally come.’ Her voice was strange, both low and high, as if she had two souls trapped inside her, both struggling to be free. She opened her large eyes and they darted across the room before settling on him, shimmering with the same brilliant golden glow that coated her body. The Eze stood frozen as he gazed with astonishment at the creature. She had spoken in the forgotten language. ‘An oracle?’ he gasped. A crippling shock overtook his body. Seconds passed as a cold sweat trickled down his forehead. The Eze sank into a sickening combination of anger and fear. Stay strong! The phrase pounded harshly though the Eze’s head as he shook himself, before falling into a defensive warrior stance. He forced himself to 3 DAUGHTERS OF NRI focus on his one strength: the enchanted crystal that lay hidden within his garments. Oracles were said to be marked goddesses amongst the umu ada ogu, uplifted because they were not bound by time or space. They were the only beings with the power to utter words in the forgotten language. Oracles had always been a rarity, even during the time of the Mother, when it was commonplace for gods to roam the earth. Many considered them to be myths even back then. Only a select few students of the magical realm knew the true extent of their power. The Eze felt a cold chill run down his spine. Despite the fragile smell of mortality emitting from her bare skin, he could still feel the pulse of that intoxicating power. ‘What are you doing here?’ he said, his voice so low and deep it sent vibrations through the small cave. The oracle opened her mouth, as if she were going to speak, but stopped and settled back into herself. Confusion suddenly flashed across her beautiful, dark face. ‘I don’t know,’ she finally replied, lowering her bright eyes and staring wildly at her hands, as though she had never seen them before.
Load more

Recommended publications
  • From Idol to Art: African 'Objects with Power': a Challenge for Missionaries, Anthropologists and Museum Curators
    From idol to art African ‘objects with power’: a challenge for missionaries, anthropologists and museum curators African Studies Centre African Studies Collection, vol. 59 From idol to art African ‘objects with power’: a challenge for missionaries, anthropologists and museum curators Harrie Leyten Published by: African Studies Centre P.O. Box 9555 2300 RB Leiden The Netherlands [email protected] http://www.ascleiden.nl Cover design: Heike Slingerland Cover photos: Left: An Ikenga of the Igbo, Nigeria. Courtesy of the Pitt Rivers Museum, University of Oxford Middle: Asuman, probably of the Ashanti, Fanti and Sefwi, Ghana. Courtesy of the Afrika Museum, Berg en Dal Right: Nkisi mabiala ma ndembe of the Yombe, Congo. Courtesy of the Katholieke Universiteit Leuven Author has made all reasonable efforts to trace all rights holders to any copyrighted ma- terial used in this work. In cases where these efforts have not been successful the pub- lisher welcomes communications from copyright holders, so that the appropriate acknowledgements can be made in future editions, and to settle other permission mat- ters. Maps: Nel de Vink (DeVink Mapdesign) Printed by Ipskamp Drukkers, Enschede ISSN: 1876-018x ISBN: 978-94-6173-720-5 © Harrie M. Leyten, 2015 For Clémence Contents Glossary vi Foreword xv 1. FROM IDOL TO ART:INTRODUCTION 1 1.1 Two Epa masks in a missionary museum: A case study 1 1.2 From Idol to Art: Research question 11 1.3 Theoretical framework 15 1.4 Objects with power 29 1.5 Plan and structure of this book 35 2. IKENGA,MINKISI AND ASUMAN 40 2.1 Ikenga 40 2.2 Minkisi 49 2.3 Asuman 65 3.
    [Show full text]
  • Bible Translation and Language Elaboration: the Igbo Experience
    Bible Translation and Language Elaboration: The Igbo Experience A thesis submitted to the Bayreuth International Graduate School of African Studies (BIGSAS), Universität Bayreuth, in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy (Dr. Phil.) in English Linguistics By Uchenna Oyali Supervisor: PD Dr. Eric A. Anchimbe Mentor: Prof. Dr. Susanne Mühleisen Mentor: Prof. Dr. Eva Spies September 2018 i Dedication To Mma Ụsọ m Okwufie nwa eze… who made the journey easier and gave me the best gift ever and Dikeọgụ Egbe a na-agba anyanwụ who fought against every odd to stay with me and always gives me those smiles that make life more beautiful i Acknowledgements Otu onye adịghị azụ nwa. So say my Igbo people. One person does not raise a child. The same goes for this study. I owe its success to many beautiful hearts I met before and during the period of my studies. I was able to embark on and complete this project because of them. Whatever shortcomings in the study, though, remain mine. I appreciate my uncle and lecturer, Chief Pius Enebeli Opene, who put in my head the idea of joining the academia. Though he did not live to see me complete this program, I want him to know that his son completed the program successfully, and that his encouraging words still guide and motivate me as I strive for greater heights. Words fail me to adequately express my gratitude to my supervisor, PD Dr. Eric A. Anchimbe. His encouragements and confidence in me made me believe in myself again, for I was at the verge of giving up.
    [Show full text]
  • History of Seventh-Day Adventist Church in Igboland (1923 – 2010 )
    NJOKU, MOSES CHIDI PG/Ph.D/09/51692 A HISTORY OF SEVENTH-DAY ADVENTIST CHURCH IN IGBOLAND (1923 – 2010 ) FACULTY OF THE SOCIAL SCIENCES DEPARTMENT OF RELIGION Digitally Signed by : Content manager’s Name Fred Attah DN : CN = Webmaster’s name O= University of Nigeri a, Nsukka OU = Innovation Centre 1 A HISTORY OF SEVENTH-DAY ADVENTIST CHURCH IN IGBOLAND (1923 – 2010) A THESIS SUBMITTED TO THE DEPARTMENT OF RELIGION AND CULTURAL STUDIES, FACULTY OF THE SOCIAL SCIENCES UNIVERSITY OF NIGERIA, NSUKKA IN PARTIAL FULFILMENT FOR THE AWARD OF DOCTOR OF PHILOSOPHY (Ph.D) DEGREE IN RELIGION BY NJOKU, MOSES CHIDI PG/Ph.D/09/51692 SUPERVISOR: REV. FR. PROF. H. C. ACHUNIKE 2014 Approval Page 2 This thesis has been approved for the Department of Religion and Cultural Studies, University of Nigeria, Nsukka By --------------------------------------------- ------------------------------ Rev. Fr. Prof. H. C. Achunike Date Supervisor -------------------------------------------- ------------------------------ External Examiner Date Prof Musa Gaiya --------------------------------------------- ------------------------------ Internal Examiner Date Prof C.O.T. Ugwu -------------------------------------------- ------------------------------ Internal Examiner Date Prof Agha U. Agha -------------------------------------------- ------------------------------ Head of Department Date Rev. Fr. Prof H.C. Achunike --------------------------------------------- ------------------------------ Dean of Faculty Date Prof I.A. Madu Certification 3 We certify that this thesis
    [Show full text]
  • Igbo Folktales and the Idea of Chukwu As Supreme God of Igbo Religion Chukwuma Azuonye, University of Massachusetts Boston
    University of Massachusetts Boston From the SelectedWorks of Chukwuma Azuonye April, 1987 Igbo Folktales and the Idea of Chukwu as Supreme God of Igbo Religion Chukwuma Azuonye, University of Massachusetts Boston Available at: http://works.bepress.com/chukwuma_azuonye/76/ ISSN 0794·6961 NSUKKAJOURNAL OF LINGUISTICS AND AFRICAN LANGUAGES NUMBER 1, APRIL 1987 Published by the Department of Linguistics and Nigerian Languages, University of Nigeria, Nsukka NOTES ON THE CONTRIBUTORS All but one of the contributors to this maiden issue of The Nsukka Journal of Linguistics and African Languages are members of the Department of Linguistics and Nigerian Languages, Univerrsity of Nigeria, Nsukka Mr. B. N. Anasjudu is a Tutor in Applied Linguistics (specialized in Teaching English as a Second Language). Dr. Chukwuma Azyonye is a Senior Lecturer in Oral Literature and Stylistics and Acting Head of Department. Mrs. Clara Ikeke9nwy is a Lecturer in Phonetics and Phonology. Mr. Mataebere IwundV is a Senior Lecturer in Sociolinguistics and Psycholinguistics. Mrs. G. I. Nwaozuzu is a Graduate Assistant in Syntax and Semantics. She also teaches Igbo Literature. Dr. P. Akl,ljYQQbi Nwachukwu is a Senior Lecturer in Syntax and Semantics. Professor Benson Oluikpe is a Professor of Applied and Comparative Linguistics and Dean of the Faculty of Arts. Mr. Chibiko Okebalama is a Tutor in Literature and Stylistics. Dr. Sam VZ9chukwu is a Senior Lecturer in Oral Literature and Stylistics in the Department of African Languages and Literatures, University of Lagos. ISSN 0794-6961 Nsukka Journal of L,i.nguistics and African Languages Number 1, April 1987 IGBD FOLKTALES AND THE EVOLUTION OF THE IDEA OF CHUKWU AS THE SUPREME GOD OF IGBO RELIGION Chukwuma Azyonye This analysis of Igbo folktales reveals eight distinct phases in the evolution of the idea of Chukwu as the supreme God of Igbo religion.
    [Show full text]
  • The Influence of the Supernatural in Elechi Amadi’S the Concubine and the Great Ponds
    THE INFLUENCE OF THE SUPERNATURAL IN ELECHI AMADI’S THE CONCUBINE AND THE GREAT PONDS BY EKPENDU, CHIKODI IFEOMA PG/MA/09/51229 DEPARTMENT OF ENGLISH AND LITERARY STUDIES, UNIVERSITY OF NIGERIA, NSUKKA. SUPERVISOR: DR. EZUGU M.A A DISSERTATION SUBMITTED IN PARTIAL FULFILMENT FOR THE AWARD OF MASTER OF ARTS (M.A) IN ENGLISH & LITERARY STUDIES TO THE SCHOOL OF POSTGRADUATE STUDIES, UNIVERSITY OF NIGERIA, NSUKKA. JANUARY, 2015 i TITLE PAGE THE INFLUENCE OF THE SUPERNATURAL IN ELECHI AMADI’S THE CONCUBINE AND THE GREAT PONDS BY EKPENDU, CHIKODI IFEOMA PG /MA/09/51229 DEPARTMENT OF ENGLISH & LITERARY STUDIES UNIVERSITY OF NIGERIA, NSUKKA. JANUARY, 2015 ii CERTIFICATION This research work has been read and approved BY ________________________ ________________________ DR. M.A. EZUGU SIGNATURE & DATE SUPERVISOR ________________________ ________________________ PROF. D.U.OPATA SIGNATURE & DATE HEAD OF DEPARTMENT ________________________ ________________________ EXTERNAL EXAMINER SIGNATURE & DATE iii DEDICATION This work is dedicated to my dear son Davids Smile for being with me all through the period of this study. To my beloved husband, Mr Smile Iwejua for his love, support and understanding. To my parents, Elder & Mrs S.C Ekpendu, for always being there for me. And finally to God, for his mercies. iv ACKNOWLEDGEMENTS My greatest thanks go to the Almighty God for his steadfast love and for bringing me thus far in my academics. To him be all the glory. My Supervisor, Dr Mike A. Ezugu who patiently taught, read and supervised this research work, your well of blessings will never run dry. My ever smiling husband, Mr Smile Iwejua, your smile and support took me a long way.
    [Show full text]
  • Saharan Africa: the Igbo Paradigm
    Journal of International Education and Leadership Volume 5 Issue 1 Spring 2015 http://www.jielusa.org/ ISSN: 2161-7252 The Re-Birth of African Moral Traditions as Key to the Development of Sub- Saharan Africa: The Igbo Paradigm Chika J. B. Gabriel Okpalike Nnamdi Azikiwe University This work is set against the backdrop of the Sub-Saharan African environment observed to be morally degenerative. It judges that the level of decadence in the continent that could even amount to depravity could be blamed upon the disconnect between the present-day African and a moral tradition that has been swept under the carpet through history; this tradition being grounded upon a world view. World-view lies at the basis of the interpretation and operation of the world. It is the foundation of culture, religion, philosophy, morality and so forth; an attempt of humans to impose an order in which the human society works.1 Most times when the African world-view is discussed, the Africa often thought of and represented is the Africa as before in which it is very likely to see religion and community feature as two basic characters of Africa from which morality can be sifted. In his popular work Things Fall Apart, Chinua Achebe had above all things shown that this old Africa has been replaced by a new breed and things cannot be the same again. In the first instance, the former African communalism in which the community was the primary beneficiary of individual wealth has been wrestled down by capitalism in which the individual is defined by the extent in which he accumulates surplus value.
    [Show full text]
  • L'aula D'idioma Com a Mitjà D'integració I D'enriquiment
    L’AULA D’IDIOMA COM A MITJÀ D’INTEGRACIÓ I D’ENRIQUIMENT MULTICULCULTURAL José Luis Bartolomé Sánchez Curs 2004-2005 Centre de treball: IES Montsacopa (Olot, Garrotxa) Especialitat: Llengua anglesa Supervisió: Neus Serra (Servei Inspecció Delegació Territorial d’Educació de Girona) Llicència d’estudis retribuïda concedida pel Departament d’Educació de la Generalitat, Resolució del 16 de juliol de 2004 (DOGC núm. 4182 de 26.7. 2004) “The White Man Drew a Small Circle” The white man drew a small circle in the sand and told the red man, 'This is what the Indian knows,' and drawing a big circle around the small one, 'This is what the white man knows.' The Indian took the stick and swept an immense ring around both circles: 'This is where the white man and the red man know nothing.' Carl Sandburg « L'home blanc va dibuixar un cercle petit » L'home blanc va dibuixar un cerce petit a la sorra i va dir al pell roja: "Això és els que coneixeu els indis" i tot seguit va dibuixar un cercle gran al voltant del petit: "Això és el que coneixem els homes blancs." L'indi va agafar el pal i va escombrar un enorme cercle al voltant dels altres dos: "Això és on ni l'home blanc ni el pell roja no coneixen gens". 2 3 4 5 Índex Pàgina Introducció 7 Greencards for Cultural Integration 11 Readers 113 - Around the world in ten Tintin books 118 - Australia 129 - America 139 - Far and Middle East 155 - Africa 177 - Far East. China & India 217 Pop Songs 249 Movies 357 Conclusions 428 Bibliografia 433 6 INTRODUCCIÓ 7 L'experiència personal dels darrers anys com a docent d'institut en un municipi amb un augment espectacular de l'arribada de famílies i alumnes d'altres països m'ha fet veure que l'entrebanc principal de contacte amb aquestes persones -l'idioma- resulta de vegades paradoxal.
    [Show full text]
  • A Socio- Economic History of Alcohol in Southeastern Nigeria Since 1890
    CHAPTER ONE INTRODUCTION Background to the Study Alcohol has various socio-economic and cultural functions among the people of southeastern Nigeria. It is used in rituals, marriages, oath taking, festivals and entertainment. It is presented as a mark of respect and dignity. The basic alcoholic beverage produced and consumed in the area was palm -wine tapped from the oil palm tree or from the raffia- palm. Korieh notes that, from the fifteenth century contacts between the Europeans and peoples of eastern Nigeria especially during the Atlantic slave trade era, brought new varieties of alcoholic beverages primarily, gin and whisky.1 Thus, beginning from this period, gins especially schnapps from Holland became integrated in local culture of the peoples of Eastern Nigeria and even assumed ritual position.2 From the 1880s, alcohol became accepted as a medium of exchange for goods and services and a store of wealth.3 By the early twentieth century, alcohol played a major role in the Nigerian economy as one third of Nigeria‘s income was derived from import duties on liquor.4 Nevertheless, prior to the contact of the people of Southern Nigeria with the Europeans, alcohol was derived mainly from the oil palm and raffia palm trees which were numerous in the area. These palms were tapped and the sap collected and drunk at various occasions. From the era of the Trans- Atlantic slave trade, the import of gin, rum and whisky became prevalent.These were used in ex-change for slaves and to pay comey – a type of gratification to the chiefs. Even with the rise of legitimate trade in the 19th century alcoholic beverages of various sorts continued to play important roles in international trade.5 Centuries of importation of gin into the area led to the entrenchment of imported gin in the culture of the people.
    [Show full text]
  • OF CULTURAL FESTIVALS and RELATIONS in WEST AFRICA: PERSPECTIVES on MBANO of SOUTHEAST NIGERIA SINCE the 20TH CENTURY Chinedu N
    Mgbakoigba, Journal of African Studies, Vol. 8 No. 2. May, 2021 OF CULTURAL FESTIVALS AND RELATIONS IN WEST AFRICA: PERSPECTIVES ON MBANO OF SOUTHEAST NIGERIA SINCE THE 20TH CENTURY Chinedu N. Mbalisi OF CULTURAL FESTIVALS AND RELATIONS IN WEST AFRICA: PERSPECTIVES ON MBANO OF SOUTHEAST NIGERIA SINCE THE 20TH CENTURY Chinedu N. Mbalisi Department of History and International Studies, Nnamdi Azikiwe University, Awka [email protected] Abstract Africa is prominently known for its rich cultural heritage, festivals and traditional celebrations. The Igbo of southeast Nigeria are known globally for their addiction to their traditional way of life, belief systems and celebration of numerous cultural festivals. These traditional and cultural festivals form the basic foundation of the rich heritage of the Igbo. Most of these celebrations begin from birth. Usually, the birth of a new born baby is greeted with joy and fanfare by his/her parents and their relatives. The celebrations continue till the period of transition (death); from puberty to adulthood, marriage, title taking, old age till one rejoins his/her ancestors, then comes the final celebration. Mbano people of southeast Nigeria have numerous traditional and cultural festivals which form the nucleus of their relations with their neighbours. In fact, the cultural festivals depict the rich cultural heritage of the people and are used to show in most parts, the kinship between the people and their proximate neighbours. This paper essays to demonstrate the import of these traditional and cultural festivals to the nature of relationship prevalent between Mbano people and their neighbours in southeast Nigeria. The work adopts the orthodox historical method of narrative and analysis.
    [Show full text]
  • “Things Fall Apart” in “Dead Men's Path”
    International Journal of Linguistics and Literature (IJLL) ISSN(P): 2319-3956; ISSN(E): 2319-3964 Vol. 7, Issue 6, Oct - Sep 2018; 57-70 © IASET “THINGS FALL APART” IN “DEAD MEN’S PATH”, A STORY FROM CHINUA ACHEBE’S GIRLS AT WAR AND OTHER STORIES Komenan Casimir Lecturer, Department of English, Félix Houphouët-Boigny University of Coode, Abidjan, Côte d’Ivoire ABSTRACT Introduced in Igbo-land owing to colonialism, Western school proves intolerant of Odinani, the Igbo traditional religion,by closing “Dead Men’s Path”, a symbol of three realms of existence: the dead, the living and the unborn children. To claim the right of being practiced freely, Odinaniwage war with the school. The ins and outs of these conflicts permits of postulating that “things fall apart” in “Dead Men’s Path”, a short story excerpted from Achebe’s Girls at War and Other Stories. KEYWORDS: “Things Fall Apart”, “Dead Men’s Path”, Intolerant School, Odinani, Igbo, Achebe Article History Received: 04 Oct 2018 | Revised: 16 Oct 2018 | Accepted: 03 Nov 2018 INTRODUCTION Introduced in Africa with the advent of colonization and its civilizing mission, school as one feature of the white man’s ways, has clashed with Odinani, the Igbo traditional religion based on the ancestral veneration or what is referred to as the first faith of Africans 1. As a result, the inherited religious practices have become obsolete, as shown in Chinua Achebe’s “Dead Men’s Path”, a short story extracted from Girls at War and Other Stories (1972). This work is a collection of short stories in which the author attests to the culturo-spiritual conflict between the African culture and the European one 2.
    [Show full text]
  • Dictionary of Ò,Nì,Chà Igbo
    Dictionary of Ònìchà Igbo 2nd edition of the Igbo dictionary, Kay Williamson, Ethiope Press, 1972. Kay Williamson (†) This version prepared and edited by Roger Blench Roger Blench Mallam Dendo 8, Guest Road Cambridge CB1 2AL United Kingdom Voice/ Fax. 0044-(0)1223-560687 Mobile worldwide (00-44)-(0)7967-696804 E-mail [email protected] http://www.rogerblench.info/RBOP.htm To whom all correspondence should be addressed. This printout: November 16, 2006 TABLE OF CONTENTS Abbreviations: ................................................................................................................................................. 2 Editor’s Preface............................................................................................................................................... 1 Editor’s note: The Echeruo (1997) and Igwe (1999) Igbo dictionaries ...................................................... 2 INTRODUCTION........................................................................................................................................... 4 1. Earlier lexicographical work on Igbo........................................................................................................ 4 2. The development of the present work ....................................................................................................... 6 3. Onitsha Igbo ................................................................................................................................................ 9 4. Alphabetization and arrangement..........................................................................................................
    [Show full text]
  • THE AESTHETICS of IGBO MASK THEATRE by VICTOR
    University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 1996 The composite scene: the aesthetics of Igbo mask theatre Ukaegbu, Victor Ikechukwu http://hdl.handle.net/10026.1/2811 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. THE COMPOSITE SCENE: THE AESTHETICS OF IGBO MASK THEATRE by VICTOR IKECHUKWU UKAEGBU A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY Exeter School of Arts and Design Faculty of Arts and Education University of Plymouth May 1996. 90 0190329 2 11111 COPYRIGHT STATEMENT. This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author's prior written consent. Date .. 3.... M.~~J. ... ~4:l~.:. VICTOR I. UKAEGBU. ii I 1 Unlversity ~of Plymouth .LibratY I I 'I JtemNo q jq . .. I I . · 00 . '()3''2,;lfi2. j I . •• - I '" Shelfmiul(: ' I' ~"'ro~iTHESIS ~2A)2;~ l)f(lr ' ' :1 ' I . I Thesis Abstract THE COMPOSITE SCENE: THE AESTHETICS OF IGBO MASK THEATRE by VICTOR IKECHUKWU UKAEGBU An observation of mask performances in Igboland in South-Eastern Nigeria reveals distinctions among displays from various communities.
    [Show full text]