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METZLER LEXIKON ENGLISCHSPRACHIGER AUTORINNEN UND AUTOREN 1 Achebe

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METZLER LEXIKON ENGLISCHSPRACHIGER AUTORINNEN UND AUTOREN 1 Achebe METZLER LEXIKON ENGLISCHSPRACHIGER AUTORINNEN UND AUTOREN 1 Achebe Barbarei« war, daß die Afrikaner selbst das Wort Achebe, Chinua ergreifen müssen, um das Bild vom »dunklen Kon- Geb. 16. 11. 1930 in Ogidi, Nigeria tinent« zu korrigieren. In der Figur des Distrikt- verwalters stellt A. einen Hauptvertreter des afrika- Mehr als fünf Millionen Exemplare sind von nischen Kolonialromans bloß: Joyce Cary, der Chinua Achebes Erstlingsroman Things Fall Apart ebenfalls Distriktverwalter in Nigeria war. In A.s (1957; Okonkwo oder Das Alte stürzt, 1983) ver- Augen repräsentiert er die Arroganz und Ignoranz kauft worden. Er steht vielerorts in Lehrplänen des Autors im Kolonialdienst, der im Gegensatz afrikanischer Schulen und Universitäten, und über zum einfühlsamen Künstler der literarischen Tra- keinen afrikanischen Autor sind so viele wissen- dition des Westens steht. schaftliche Publikationen erschienen. Der Roman Things Fall Apart hat die realistische »Achebe handelt vom ersten Kontakt der Igbo mit der School« begründet. Die folgenden Romane Arrow Kolonialmacht Großbritannien, vom Beginn des of God (1964; Der Pfeil Gottes, 1965), No Longer at Kolonialismus. Geschrieben hat A. das Werk kurz Ease (1960; Heimkehr in ein fremdes Land, 1963), A vor der Unabhängigkeit Nigerias, am Ende der Man of the People (1966; Ein Mann des Volkes, Kolonialzeit. Er hat einen historisch verbürgten 1966) und die Kurzgeschichtensammlung Girls at Fall des Widerstands gegen das britische Vordrin- War (1972) führen A.s Projekt der Wortergreifung gen aufgegriffen. In seiner Fiktionalisierung rückt für eine afrikanische Geschichtsperspektive fort, er das Igbo-Dorf Umuofia in den Mittelpunkt, um von der Kolonialzeit in den 1920er Jahren über die die Spannungen zwischen kulturellem Wandel, Unabhängigkeitsbewegung bis zum ersten Militär- verkörpert durch Obierika, und konservativem putsch und dem Biafra-Krieg. Heute betrachtet die Beharren, verkörpert durch Okonkwo, Inbegriff Kritik A.s Erzählwerk differenzierter. Über die rein aller Igbo-Tugenden, zu illustrieren. Okonkwo hat reaktive Intention des Gegendiskurses (»writing sich als Krieger ausgezeichnet, ist aber durch zwei back«) werden A.s Romane als Illustration dessen Tötungsdelikte in einen Konflikt mit seiner Gesell- gelesen, was Theoretiker der Postkolonialität wie schaft geraten und endet ehrlos durch Selbstmord. Edward Said oder Kwame Anthony Appiah pro- Er hat einen Kolonialpolizisten getötet, um sein pagieren. Auch A. hat in seinen Essays die literari- Dorf zum Aufstand gegen die Briten anzustacheln. schen Repräsentationen der Postkolonialität durch An den Anfang des Romans stellt A. den Grün- theoretische Erwägungen ergänzt. In »The African dungsmythos Umuofias, der mit dem Sieg über Writer and the English Language« (1965) stellt er den Geist der Wüstenei die Überwindung des klar, daß die Nationalstaaten Afrikas eine histori- Chaos durch gesellschaftliche Ordnung verdeut- sche Konsequenz des Kolonialismus sind, also die licht. A. zeigt Umuofia als Gemeinwesen, das auf Autoren, die in den Kolonialsprachen schreiben, einer klaren Rechtsordnung aufgebaut ist: Erst die nur diesem Faktum Rechnung tragen. Aber A. Kolonialmacht verwirft diese Ordnung. Unter dem beansprucht für sich, die englische Sprache so zu Vorwand, den »Wilden« Zivilisation zu bringen, modifizieren, daß sie seinen Vorstellungen von öffnet sie der Korruption und Willkür die Tür. afrikanischer Expressivität genügt. Damit hat A., Okonkwos Selbstmord – ein Verstoß gegen die der seine Erzähltexte in Englisch, seine Lyrik aber Erdgöttin – symbolisiert den Zerfall der alten Ord- in Igbo schreibt, in dem Streit, in welcher Sprache nung. In der Schlußpassage gibt A. dem Distrikt- afrikanische Autoren schreiben sollten, eine prag- verwalter das Wort: Als Beleg seiner zivilisatori- matische Position markiert und eine Lanze für schen Mission wird er in seinem Buch über »Die sprachliche Experimente mit Varietäten des Eng- Befriedung der Wilden am Niger« der Geschichte lischen gebrochen. A. hat sich zudem mit der Okonkwos ein kleines Kapitel widmen. In diesem Imagologie und den hegemonialen Strukturen des scheinbar belanglosen Wechsel der Erzählperspek- Afrika-Diskurses auseinandergesetzt, wie er über tive faßt A. die Grundkonstellation postkolonialer den Kanon der »Great Tradition« perpetuiert wird. Literatur zusammen: Der Diskurs über Afrika wird Nachdem er Kolonialautoren wie Joyce Cary, Gra- von den Kolonialisten beherrscht, das Afrikabild ham Greene und John Buchan auf ihren Platz ist aus Ignoranz und rassistischer Arroganz ver- verwiesen hatte, nahm er sich in »African Litera- zerrt worden. Bis zu dieser Passage belegt der ture as Restoration of Celebration« (1991) einen Roman, daß die Geschichte Afrikas vor Ankunft Schlüsseltext dieser Tradition vor, Joseph Conrads der Weißen eben nicht »eine endlose Nacht der Heart of Darkness (1899): Er habe lange gebraucht, Achebe 2 bis ihm klar wurde, daß er nicht an Bord von Marlows Boot den Kongo aufwärts fahre, sondern Ackroyd, Peter einer der Wilden sei, die grimmassierend am Ufer Geb. 5. 10. 1949 in London tanzen; Conrad entwerfe ein Bild von Afrika als dem fundamental Anderen, der Antithese zu Eu- Peter Ackroyd, der als experimenteller Lyriker, ropa und zur Zivilisation, als Ort, an dem statt der Essayist, Kulturkritiker, Rezensent, Herausgeber, Intelligenz, Bildung und des Anstands die Bestiali- Biograph und Romanschriftsteller tätig ist, bewäl- tät des Menschen vorherrscht. Auch mit seinen tigt in seinen fiktionalen und kritischen Werken Essays hat A. eine neue Tradition begründet, die die Gratwanderung zwischen publikumswirksa- des Afrika-zentrierten kritischen Diskurses. Nach men Bestsellern und mehrfach preisgekrönter Li- 20jährigem Schweigen hat A. mit dem Roman teratur mit Bravour, obwohl die Texte als her- Anthills of the Savannah (1987; Termitenhügel in metisch verschrieene postmodern-dekonstruktivi- der Savanne, 1989) nochmals eine Neuorientie- stische Thesen auf hohem intellektuellem Niveau rung in der afrikanischen Literatur eingeführt: die reflektieren. Nach A.s Aussage finden sich die The- multiperspektivische Erzählweise. A. beschreibt men und theoretisch-philosophischen Vorannah- die Militärregime nach dem Bürgerkrieg von vier men seiner Biographien, Romane und lyrischen verschiedenen Standpunkten. Drei Schüler des Lu- Werke bereits in dem Essay Notes for a New Culture gard-Gymnasiums repräsentieren drei Entwick- (1976), dessen Titel auf T.S. Eliots Notes Towards lungsmöglichkeiten des unabhängigen Nigerias. the Definition of Culture (1948) anspielt. Dieses Sam, Chef der Militärjunta, steht für die autoritäre literarphilosophische Manifest faßt in polemisch Macht. Chris, Sams Informationsminister, vertritt zugespitzter Form die Erkenntnisse des nach dem die korrumpierte Privilegentia, die überall mit- Abschluß des Clare College in Cambridge spielt, solange sie persönlich profitieren kann. (1968–71) durch ein Stipendium ermöglichten Ikem, Journalist und Dichter, träumt von einer Studiums an der Yale University 1971–73 zusam- ›Graswurzel‹-Demokratie, die allein den afrikani- men, wo A. mit den Thesen der sogenannten Yale schen Humanismus politisch umsetzen könne. Critics konfrontiert wurde. Der Text deutet die Durch ihren Lebensweg und die persönliche englische Geistesgeschichte als Verfallsgeschichte, Freundschaft miteinander verbunden, werden die da England seit der Restauration den Anschluß drei zu tödlichen Kontrahenten. Ikem wird von an außerinsulare Modernisierungsschübe verpaßt Sams Geheimdienst ermordet, Sam fällt einem habe und sich bis in das 20. Jahrhundert an einem Putsch zum Opfer, Chris wird auf der Flucht von essentialistisch konzipierten aesthetic humanism einem Polizisten erschossen. Die vierte Perspektive festklammere. Dieser negativ konnotierte ›Huma- ist die von Beatrice, die zwar mit allen drei Män- nismus‹ manifestiert sich laut A. vornehmlich in nern liiert ist, aber ihre Unabhängigkeit bewahrt den Konzeptionen von Selbst, Welt und Sprache und als einzige überlebt. Sie repräsentiert das und ignoriert als modernistisch charakterisierte, (Über-)Lebensprinzip in einer von Männern kor- sprachzentriert-konstruktivistische Entwürfe von rumpierten, außer Kontrolle geratenen Gesell- Subjektivität, Realität und Kunst, die A. im Rück- schaft. Die feministische Kritik hatte A. wegen griff auf Theoretiker wie Roland Barthes, Jacques seines Frauenbildes in den früheren Romanen hef- Derrida und Jacques Lacan entwickelt. – Analog zu tig kritisiert. Anthills of the Savannah zeigt auch den Thesen des Essays verwischen sowohl A.s Bio- darin einen Neuansatz, daß Männerdominanz als graphien über Ezra Pound (1980), T.S. Eliot destruktiv gekennzeichnet wird und die maßgeb- (1984; T.S. Eliot, 1988), Charles Dickens (1991), liche Bedeutung der Feminität für die Aufrecht- William Blake (1995; William Blake: Dichter, Ma- erhaltung der Humanität betont wird. ler, Visionär, 2001) und Thomas More (1998) wie auch seine bislang neun Romane die ontologische Literatur: Ezenwa-Ohaeto. Chinua Achebe. Oxford 1997. Differenz zwischen Fiktion und Wirklichkeit. In – S. Gikandi. Reading Achebe. London 1991. – D. Car- The Life of Thomas More z.B. evozieren Anekdoten roll. Chinua Achebe: Novelist, Poet, Critic. London 1990 [1970]. – C.L. Innes. Chinua Achebe. Cambridge 1990. – und Briefe, Dialoge, juristische Dokumente und D.G. Killam. The Writings of Chinua Achebe. London mittelalterliche Kirchentexte ein in der betonten 1977 [1969]. Selektivität von Daten und Textsorten lebhaftes Eckhard Breitinger
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