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A Postmodernist Reading of Contemporary Nigerian

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A Postmodernist Reading of Contemporary Nigerian A POSTMODERNIST READING OF CONTEMPORARY NIGERIAN POETRY BY GAMBO SANI (BSU/ENG/Ph.D/12/1637) A THESIS SUBMITTED TO THE POSTGRADUATE SCHOOL, BENUE STATE UNIVERSITY, MAKURDI, IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE AWARD OF THE DEGREE OF DOCTOR OF PHILOSOPHY (Ph.D) IN LITERATURE SEPTEMBER, 2018 ii DECLARATION I hereby declare that this thesis titled “A Postmodernist Reading of Contemporary Nigerian Poetry” has been written by me, and that it is the outcome of my own research work. It has not been presented in any form whatsoever for the purpose of the award of any degree. All quotations are duly acknowledged. Name: …………………………… Signature: ……………………….. Date: …………………………….. iii CERTIFICATION We certify that this thesis titled “A Postmodernist Reading of Contemporary Nigerian Poetry” has been duly presented by Gambo Sani (BSU/ENG/Ph.D/12/1637) of the Department of English, Faculty of Arts, Benue State University, Makurdi, and has been approved by the examiners. Supervisor Head of Department Signature: ………………………… Signature: ……………………...... Name: ……………………………. Name: …………………………… Date: ……………………………. Date: …………………………...... Having met the stipulated requirements, the thesis has been accepted by Postgraduate School. ………………………………… Dean Postgraduate School …………………………………. Date iv DEDICATION This study is exclusively and unreservedly dedicated to Almighty God, for His overpowering grace. v ACKNOWLEDGEMENTS First and foremost, my deepest gratitude goes to the Almighty God for giving me life, strength, wisdom, and the privilege to undertake and complete this study. Without His grace, it would have been impossible for me to complete this work. My supervisors, Dr. Moses Tsenongu and Dr. (Mrs.) Maria Ajima, did everything they could to give this study the shape required of a Ph.D thesis. They were accessible, patient, accommodating, and provided necessary guidance for me throughout the course of the study. Their critical insights gave me a lot of illumination and added much value to this work. I sincerely appreciate each of them for the discomfort they had to endure in the course of supervising me. In addition, at various times, they both relieved me of the stress of the long and tortuous journey from Lokoja to Makurdi by offering such warmth and hospitality that always leave me blushing embarrassingly. I cannot say enough thanks to them. I am grateful to the Head of Department, Professor Abimbola Shittu, for providing an enabling environment for smooth academic activities in the Department. I am also grateful to Professor David Ker, Professor Tyohdzuah Akosu, Professor (Mrs.) Lucy Vajime, Professor (Mrs.) Leticia Mbaiver Nyitse, Dr. Andrew Ameh Aba, Dr. Philip Sunday Bagu, Dr. Tartule Tijah, Professor Godwin Yina, and late Dr. Ferdinand Iorbee Asoo. It is a great privilege to learn at the feet of these erudite scholars. For training me, I owe each of them a debt of gratitude. I also appreciate Dr. (Mrs.) Remi Akujobi, Dr. (Mrs.) Aito Ofure, and Dr. Abel Joseph, of the Department of English and Literary Studies, Federal University, Lokoja, for reading parts of this work and offering insightful suggestions at various times. Dr. Akujobi gave me unfettered access to her rich library. Dr. Ofure and I had vi a brief discussion on postmodernism in her office and that encounter proved very useful in giving shape to the theoretical framework of this study; and Dr. Joseph kept urging me on to work hard and finish early. My family stood by me throughout the course of the study. I acknowledge each of them, specifically my father, Chief Sani Adejoh, and my late mother, Mrs. Ramat Sani, who both started me on this “journey”, fully determined to give me the education they never had. My brothers, Suleiman and Okai, and my sisters, Ejura, Binta, Hassana, Husseina, Salamatu, Rabi, and my wife, Afor, all played pivotal roles at different stages of my academic progress. Pastor David Alfa and his wife, Justice (Mrs.) Ruth Alfa, have remained models of sound spiritual leadership. I am grateful to them for their prayers and wise counsels. Rev. Emmanuel Akogu and his wife, Mrs. Caroline Akogu, have been equally supportive. They have always looked forward to hosting me and ensuring my comfort anytime I travelled to Makurdi. I cannot forget to appreciate my cousin, Joy Ogwu, and my friend, Mr. Samuel Mtan, for their assistance at various times. I am also grateful to my friends, Mr. Daniel Sani and Mrs. Stella Alhassan, for encouraging me to choose Benue State University for my postgraduate studies. The management and staff of Kogi State Hospitals Management Board, Lokoja, Nigeria-Korea Institute of Vocational and Advanced Technology, Lokoja, and Kogi State University, Anyigba, are appreciated for their support and the opportunity to undertake the study. Finally, I am grateful to everyone who has contributed in one way or the other to the success of this work. May God bless each of them for their labour of love. vii TABLE OF CONTENTS Title page ……..……………………………………………..………………………i Declaration page …………………..…………….……..…………………………...ii Certification page ………..……………………..…,…………………………...…..iii Dedication ……..……………………………....……..……………………….…....iv Acknowledgements …..……………………..……..………………………….....…v Table of Contents ..…………………………………………………………….…..vii Abstract ………………..…………………………………………………………....x CHAPTER ONE: Introduction ….…………..………………………………..….1 1.1 Background to the Study ………………………………………...…………………1 1.2 Statement of the Problem ………………………………….……………………….6 1.3 Definition of Terms ……………………………………………………….………..7 1.3.1 Postmodernism …………………………………………………………….……….8 1.3.2 Contemporary Nigerian Poetry …………………………………………………….9 1.4 Scope of the Study …………………………………………..…………………….11 1.5 Aim and Objectives of the Study …………………………..……………………..12 1.6 Significance of the Study ………………………………,,……………….……….13 1.7 Brief Biography of the Selected Poets …………………..……………….………15 1.7.1 Obu Udeozo …………………………………………..…………………………..15 1.7.2 Femi Abodunrin …….………………………………..…………………………...16 1.7.3 Musa Idris Okpanachi …………………………………………………………….16 1.7.4 Denja Abdullahi ………………………………………………………………..….17 1.8 Organisation of the Study …………………………………………………………19 viii CHAPTER TWO: Review of Literature and Theoretical Framework ………21 2.1 Preamble ………………………………………………………..…………………21 2.2 Review of Related Literature ………………………..………..…………………...21 2.2.1 An Overview of the Criticism of Nigerian Poetry …………..…………………….22 2.2.2 Review of Scholarship on the Poets of Study …………..…………………………38 2.3 Theoretical Framework ………………………..…………………………………..48 CHAPTER THREE: Intertextuality in Contemporary Nigerian Poetry: A Critical Appraisal of Obu Udeozo’s Cyclone ……………………..…….……….68 3.1 Preamble …………………………………………………………….………….…..68 3.2 The Concept of Intertextuality ………………………………………………….….68 3.3 Interrogating the “Mosaic of Quotations” and Other Intertextual Aesthetics in Cyclone ………………………………………………………………………..……72 3.3.1 Reprint ………………………………………………………………………..…….74 3.3.2 Allusion …………………………………………………………………..…………83 3.3.3 Quotation ………………………………………………………………..………….95 CHAPTER FOUR: Abrogating Aesthetic Boundaries in Contemporary Nigerian Poetry: A Reading of Femi Abodunrin’s Poetry as Drama ….…......109 4.1 Preamble ………………………………………………………….……….….…...109 4.2 Conceptual Premise …………………………………………….…….……...…....109 4.3 Poetry as Drama and Other Arts in It Would Take Time: Conversation with Living Ancestors ……………………………………………………....………………….116 4.3.1 The Narrative Mode and Folk Tradition in It Would Take Time ….……..…….....120 4.3.2 Dramatic Aesthetics in It Would Take Time …………..…………………….........126 ix CHAPTER FIVE: Irony, Humour, and the Social Condition in the Poetry of Musa Idris Okpanachi and Denja Abdullahi …………………..………........145 5.1 Preamble ……………………………………………………..………..………......145 5.2 Conceptual Premise …………………………………..…………………………...145 5.2.1 The Concept of Irony ……………………………..……..…………….………….148 5.2.2 The Concept of Humour …………………………………….……………………151 5.2.3 The Social Condition of Post-Independent Nigeria ……………..….…………….154 5.3 Irony in Okpanachi’s The Eaters of the Living …...………………….…………..156 5.3.1 The Ironic Mode and the Question of Leadership ………………………………..159 5.3.2 Irony in the Portrayal of Marital Expectations …………………..…………….....171 5.4 Humour in Abdullahi’s Mairogo: A Buffoon’s Poetic Journey around Northern Nigeria ……………………………………………………………..……………..181 5.4.1 Humour in the Presentation of the Persona as Buffoon ………………………….184 5.4.2 Humour in the Persona’s Quest for Survival and Critique of Religious Hypocrisy …………………………………………………………..…………….186 5.4.3 Humour and the Subject of Leadership ………………….……………………….191 5.4.4 Humour in the Portrayal of Northern Nigerian Cities ………….………………..197 CHAPTER SIX: Summary, Conclusion, and Contribution to Knowledge …200 6.1 Summary ……………………………………………………………….………...200 6.2 Conclusion ……………………………………………………….……………….203 6.3 Contribution to Knowledge ……………………………………………………....204 WORKS CITED …………………………….……………..………….…………206 x ABSTRACT This study is a postmodernist assessment of contemporary Nigerian poetry. This postmodernist approach is necessary because it is rarely employed in the study of Nigerian poetry. In this study, contemporary Nigerian poetry refers to the poetry of the younger post-war Nigerian poets which focuses on the current challenges of the nation. Postmodernism is a creative strategy employed by writers who wish to show their discontents with modernism. Unlike their older, modernist counterparts, contemporary Nigerian poets are more concerned with topical issues like misgovernance, poverty, and war, which they project through the purview of
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