Soyinka, Sartre and Style

 

Stylewise, Wole Soyinka's Baiting Igbophobia: The Sunny Igboanugo Thesis, the latest (and twelfth) outing in the Nobel Laureate's Intervention series, is strong meat. The book is strong meat, not exactly in the British sense of being so indelicately shocking and off-the-wall as not to everyone's taste, but strong meat, tangentially, in the biblical sense. In the Yoruba sense, too – Eran tó yi – strong, gristly, chewy meat. Of course, any number of readers would pass on Wole Soyinka as any random peruser of books would pass on any other author. It is simply a matter of taste. Some people would consider Gustave Flaubert's Madame Bovary unreadable or not readworthy, even in the sublime French original. Beyond the chasm of time and space that separates them, Soyinka is not Flaubert, and I would not even begin to compare the masters - both are terrifically larger-than-life figures.

Jean-Paul Sartre testifies to Flaubert's existential vastness and genius in the unfinished biogra-fiction The Family Idiot. The 5-volume, 3000-page literary alchemy is a nonpareil. Again, I will not attempt the merest aperçu into The Family Idiot. Not only would it smack of readerly showoffishness (more so in these unreaderlike times), but it is almost impossible. Joseph S. Catalano's attempt to condense the tomes into a smaller readable volume is effective and handy - handy in more ways than one. (By the way, speaking of taste, Catalano wasn't as taken with Madame Bovary as he was by Moby Dick.) Setting aside the potted edition, few mortals have indeed read all the five volumes of The Family Idiot. There is no sprinting through three thousand pages of text, still more when it is allusive and erudite. And not only are they as rare as gold dust, but they are also as pricey as gold bars, save the first volume, which is inexplicably reasonably priced. Anyway, enough of bibliophilic diversions.

The above is not as digressive as it seems. Soyinka recalls Sartre in a lot of ways. Sartre bestrode French literature and philosophy in the 20th century. As a litterateur, he wrote plays, novels, autobiographies and essays and was a giant of philosophy. Although he is a 'thinker' and intellectual in the Aristotelian sense, Soyinka does not write philosophy. But there are parallels between the men. They are similarly prolific; they are hugely brilliant; they are monstres sacré (sacred monsters); they are non-politically engagé; and they would have been fellow Nobel Laureates if Sartre had not rejected the prize in 1964. Some of their writings are dense, difficult, and well and truly caviar to the general. Soyinka's The Credo of Being and Nothingness may be a minor opus but the intellectual ballast - and bombast, so to speak - at its core is no less weighty than Sartre's summa existentia Being and Nothingness.

Now, here is the rub. How do I write about Soyinka's literary style without turning it into a parody, a parody of purple prose? And not just a parody of Soyinka's prose but also of the pastel shades of my own writing! Anyway, speaking of purple prose, in the tenth Intervention, Soyinka recounts how an English professor, whom he showed his collegiate attempt at writing a play, described his prose as 'purple.' Well, the don lived long enough to witness how purple became the new and rewarding black for Soyinka when he won the Nobel Prize for Literature in 1986.

Beyond purple and black, how well does Soyinka's word-painting read and leap out from a canvas? For one thing, unlike, say, Vladimir Nabokov, Soyinka is not a prose stylist. Contrary to what some might think, he does not strain after effect. He is a writer whose genius errs on the side of tough-grained brutalism. If you possessed a fair amount of vocabulary, Soyinka would not send you to the dictionary as often as you might fear, but he might make you sweat, swear and hyperventilate because you could not make your way out of his labyrinthine constructions.

This is not the place and time to analyse Soyinka's redoubtable style. Where does one start? His plays? Poems? Novels? Life writing? Essays? The great man will be ninety this year, and something seems to be happening to his prose. No, it is not mellowing - it is indeed simmering, bubbling over. You could glean that from his Intervention series, which he began about fifteen years ago. The first five books are combative, vivid and reader-friendly; the middle three are brooding, adversarial and not reader-unfriendly, but the last four are... Well, they read as if they were written with ichor (golden blood) taken from the veins of Ogun, Zeus, Sango and Prometheus.