Postmodernist Themes and the
Multifaceted Nature of Truth in Olu Obafemi’s Wheels
Abosede
Omolara OMOJUYIGBE
Department of General Studies,
Baze University,
Abuja, Nigeria
&
Jude Zeal ADEGOKE
Department
of English and Literary Studies,
Prince
Abubakar Audu University,
Anyigba,
Nigeria
Abstract:
Themes that permeated the African literary canon before
the late 20th century tended to reinforce the traditional notions of the
stability of truth, the objectivity of reality, and the idea that grand norms
are the foundation on which society must rely in piloting its affairs without
which society is bound for self-destruction. Today, postmodernist perspectives
have punctuated our understanding of the contemporary world, where truth proves
relative and subjective. This research critically explores some postmodernist
themes in Obafemi’s Wheel that project the plurality of truth and the
multifaceted nature of African realities. The methodology adopted for this
study is analytical and critical, while the Postmodernist Theory serves as its
theoretical framework. Findings indicate that postmodernist themes dominate the
contemporary African literary canon. These themes suggest that the idea about
the sanctity of truth is unfounded, as evidence indicates the plurality of
truth. The concepts of reason, truth, and reality are merely tools for
dominance, oppression, and destruction. It is concluded that postmodernist
themes play significant roles in exposing the inadequacies of traditional
notions of truth and reality and are instrumental in the reinterpretation of the
narratives in our world. We can redefine our world in a new light through
postmodernist ideas and show that everything is in constant flux.
Keywords: Postmodernist, Themes, Reality,
Truth, Reason, Subjectivity
Introduction
In the past, African literary works
often emphasised the stability of truth and the objectivity of reality,
suggesting that adherence to grand norms was crucial for societal stability.
However, postmodernist perspectives have reshaped our understanding of the
contemporary world, portraying truth as subjective and reality as multifaceted.
Since the late 20th century, African literary discourse has experienced a
paradigm shift, moving away from traditional notions of truth and reality
towards a more diverse understanding influenced by postmodernist thought. This
shift is particularly evident in Olu Obafemi’s novel Wheels, where postmodernist themes challenge the once-accepted
stability of truth and objectivity of reality. This research is a discourse of
postmodernist themes in Olu Obafemi’s Wheels,
exploring how the themes in the novel challenge the traditional norm of
truth as a stable entity, asserting the plurality of truth and the complex
nature of African realities. Drawing on Postmodernist Theory as its theoretical
framework, this research demonstrates how postmodernist themes have come to
dominate the contemporary African literary canon. It argues that the
traditional idea of a singular, objective truth is untenable, as evidence
suggests a plurality of truths.
Contextualising Postmodernist African
Literature
The term Postmodernism defies a
single tidy definition. Postmodernism’s prefix ‘post’ poses some controversies,
as this prefix is often used to denote the end of one period and the beginning
of another. The term postmodernism suggests the end of Modernism; however, it
transcends this historical period. Postmodernism captures the socio-political
and cultural undercurrents of contemporary times, marked by technological
innovations, architecture, art, writing, etc, with attendant consequences.
Postmodernism opposes the concept of universal truth as a single reality
propagated in grand narratives. Postmodernism embraces the multiplicity of
realities and truth, which are the hallmarks of the 21st century, which came
with numerous changes and technological advancements which altered many things
in society. As Best and Kellner argue, “...the transition to a postmodern
society is bound up with fundamental changes that are transforming pivotal
phenomena from warfare to education to politics, while reshaping the modes of
work, communication...social relations, identities and even bodily existence
and life forms” (2). Some of the factors that propelled postmodernism are the
collapse of colonial systems, the decline in industrial capitalism, the
disillusionment with grand narratives, the disenchantment and rejection of the
concept of universal truths and the rise of new artistic practices which
elevate ‘low’ art above ‘high’ art, and also the aversion for linearity and
coherence in art.
African critics have viewed the
postmodern theory differently, especially in theory and practice. Abiola Irele
describes postmodernism as the “most insidious threat to the contemporary
African mind” but equally sees the Postmodern interrogation of historical facts
and grand narratives of the Enlightenment period as “one that our historical
experience predisposes us to understand and rally to” (5). The major arguments
from African writers can be viewed along two significant divides.
The first divide captures the
arguments of some critics, such as Sanya Osha and Achille Membe, who suggest
that the Postmodern and the Post-structural theories are the most appropriate
for assessing Postcolonial texts and contexts. The Second divide captures the
views of Olusegun Oladipo and Kwasi Wiredu, who are of the notion that the
“Postmodern theory is irrelevant to the African literary discourse since Africa
is just transitioning from the traditional to a modern milieu” (Afolayan 54).
In
response to the arguments of the Oladipo and Wiredu factions, Achille Membe, in
On the Postcolony, argues for the
relevance of postmodern theory in African literary discourse. His argument is
based on the fact that most African societies, being post-colonies, make Africa
a place of multiple experiences, intersections of cultures and various
temporalities. Membe describes the African space as “a multiplicity of times,
trajectories and rationalities that, although particular and sometimes local,
cannot be conceptualised outside a world that is, so to speak, globalised” (9).
Osha seems to re-echo Membe’s thoughts when he attacks Wiredu’s faction’s
argument that Postmodern theory is irrelevant to Africa, as he states, “Third
world theorists need to evolve more befitting theories for our present
condition, since the philosophies we have do not seem to describe our reality
very well” (vi).
Wiredu’s
argument that the postmodern theory was irrelevant to Africa since the
continent was transitioning from the traditional to the modern milieu is
captured thus:
Contemporary Africa is in the middle of
transitioning from a traditional to a modern society. This modernisation
process entails changes not only in the physical environment but also in the
mental outlook of our peoples, manifested both in their customs, and their
ordinary daily habits and pursuits. (x)
From the above quotation, it is
evident that Wiredu’s argument is not necessarily about the irrelevance of the
postmodern theory but the timing of bringing it into the African milieu. For
Wiredu, the most crucial theory should be anchored on the in-depth
understanding of the African worldview. This is a position that Oladipo agrees
with, as he states
that African philosophers pay serious
attention to the linguistic phenomena in their philosophical investigation.
This is inevitable... (and) unavoidable in Africa today because a lot of the
problems of self-understanding on the continent have to do with ‘intellectual
anomaly’...occasioned by the efforts to achieve self-understanding through the
medium of non-indigenous languages. (144-145)
For
Oladipo, African philosophers need to pay more attention to the linguistic
phenomena in their investigation. This is crucial to understanding the African
milieu, for it is only the understanding of this that will help them figure out
what modernity entails. This will, in turn, make them understand that
postmodernism does not have any relevance in the African worldview, as he
further states:
The first one is that modernisation is not a
contemporary phenomenon; rather, it is a historical process without a
proprietor and with no predetermined end. The second implication is that, in a
sense, every society is modernising. Indeed, the modernisation process is an
unending one. Finally, this analysis renders the idea of postmodernism
incoherent and unintelligible. After all, the process of enlightenment (seeing
things in a better light) is continuous, as human experience and the history of
science generally show. (146-147)
As stated earlier, postmodern literature does
not lend itself to a single tidy definition; however, certain features and
themes can be used to adjudge a literary work as postmodern. This research
explores how Obafemi’s Wheels engages
with such postmodernist themes, thereby challenging conventional perceptions of
truth and reality while portraying the intricate nature of the African
experience.
A Discourse of Postmodernist Themes in Wheels
The exploration of postmodernist themes in
literature often uncovers the complex interplay between personal identity,
societal structures, and historical narratives. This analysis explores this
interplay. Focusing on Kofo Ebaje, the son of Musa (known as Sonja), the
narrative follows his journey from naivety to understanding against the
backdrop of his father’s experiences. Musa, a retired sergeant, recounts being
unjustly dismissed from the army after the Civil War due to a lack of the
required educational qualifications. This dismissal, compounded by inadequate
compensation and a robbery that deprives him of his meagre retirement benefits,
plunges Musa’s family into poverty.
Despite
their hardships, Musa strives to educate Kofo and provide for the family.
However, their difficult circumstances are highlighted when a wealthy man’s car
splashes water on them, underscoring the stark divide between the rich and the
poor. This incident fuels Musa’s resentment towards the wealthy, whom he
believes unjustly benefits from the toils of the less privileged. This
resentment is further fuelled by Musa’s observations of wealthy individuals who
prospered without contributing to the war effort, contrasting sharply with his
lack of reward for his military service.
In
Wheels, Olu Obafemi explores
Nigeria’s pervasive theme of corruption, mainly stemming from the discovery of
petroleum. Through the character of Sonja, Obafemi unveils the extent of
corruption and the unequal distribution of wealth resulting from this
discovery. Sonja’s incredulous exclamation, “This world na wa,” reflects his
astonishment at the immense wealth generated by petroleum and top military
officers’ subsequent misappropriation of these riches. These officers not only
enrich themselves but also extend benefits to commanders in enemy camps under
the guise of “rehabilitation and reconstruction” (26), leaving the lower ranks,
such as Sonja, in abject poverty.
The
narrative further reveals the disparity in wealth distribution, with top
officials indulging in opulence while neglecting the basic needs of the less
privileged. Sonja’s lament, “Wetin be the meaning of dis world sef? We wey be
other rank and our family, we get notin. Those wey do well, like me, go buy
Sekon hand cycle. If your money no reach, you get bicycle like Hercules, Rarley
or Robinhood” (25), highlights the stark contrast between the wealthy, who
flaunt their prosperity by purchasing luxury items such as cars and mansions,
and the poor, who struggle to afford necessities. This economic disparity fuels
social vices such as armed robbery, with the impoverished resorting to crime as
a means of survival. Ironically, these criminals target their fellow poor, as
the rich are well-protected and insulated from such theft. Sonja’s
disillusionment is palpable as he concludes, “Dis world no get justice Chineke”
(26), echoing the sentiment of many who are victims of a system rife with
corruption and injustice.
The discovery of oil in Nigeria holds
plural implications; it is both a blessing and a curse to Nigeria. It is a
blessing in that it generates revenue for the nation, but also a curse because
it encourages corrupt practices. For example, some of the resources generated
from the sale of crude oil end up in the hands of a limited number of people
under the guise of “subsidy repayment” and “resource control fund,” which
usually ends up in the hands of a few people. Simultaneously, the majority are
left with the dire consequences of oil exploration, such as land and water
pollution, as we see in the southern region of Nigeria.
Wheels further explores the theme of
alienation, bedevilling the Giro community. Due to the social injustice meted
out to the poor people of Giro, such as Pa Garuba, Sonja, and others in his
social class, they distrust the system that favours only wealthy people. This
distrust, in turn, breeds a sense of alienation. This alienation goes both ways
for the Giro community’s poor and rich people. The Poor do not want to have
anything to do with the rich because they feel the sole desire of these rich
people is to destroy them. The rich are also alienated from the poor because
they do not want the poor to ‘infect’ them with their poverty. Hence, both the
rich and the poor build walls to protect themselves from what they perceive as
each other’s ills. This alienation that exists between the rich and poor has
degenerated into a state of paranoia on the part of the poor as it has become
their sole way of responding to the crises of poverty, injustice, and
inequality that plague the Giro Community. The irony in this case is that since
these poor people do not want to have anything to do with the rich people, the
rich people do not mind associating with the poor as long as the meeting will
benefit the rich.
The postmodern condition is marked
by many complexities, including hyperrealism, the pervasive use of electronic
media, fragmentation, and the blurring of lines between the ‘real’ and the
‘virtual’ world (a crisis of representation), which can engender a state of
paranoia. This inability to distinguish between the ‘real’ and the ‘imagined’
leaves individuals in a perpetual state of confusion, leading to a sense of
alienation from themselves and the world around them. This sense of isolation
often prompts individuals to construct internal defence mechanisms to cope with
the world’s pressures. The quest for meaning amid this confusion can ultimately
culminate in paranoia. Characters in Postmodern Literature frequently grapple
with paranoia and schizophrenia, stemming from their alienation from themselves
and society.
Sonja’s
paranoia is evident in the way he thinks that the rich people threaten the
lives of the poor people; hence, he does not want to have anything to do with
them. On an occasion when he is taking his son, Kofo, to school and Seun’s
Father’s car accidentally splashes muddy water on his motorbike, the anger and
verbal vituperations from Sonja exemplifies his paranoia as he states: “Damn
you, rich man wey no get job...Nonsense millionaire wey no get office” (39).
Kofo thinks Seun’s father may have unknowingly splashed muddy water on them, but
Sonja’s paranoia will not let him see it that way; he has already formed a
perception that every action of the rich against the poor is to slight the
poor.
This
pervasive sense of paranoia extends to the children of the poor, who are
sometimes influenced by their parents’ suspicions. Kofo, for instance, reacts
similarly to his father when his friends Seun, Gbenga, and Kemi try to engage
him during lunch break. Still reeling from the morning’s punishment for being
late to school due to the earlier incident, Kofo desires solitude to eat his
lunch. When his friends attempt to coax him into playing, he angrily retorts,
“Leave me alone. Go away. Don’t kill me. You children of murderers and
oppressors. Leave me alone satans. Children of destroyers” (43).
Kofo’s
outburst is fuelled by Seun’s lack of support when the teacher punished him
earlier. Kofo feels betrayed by Seun, who remained silent during the incident,
knowing the teacher’s favouritism towards wealthy students. Kofo reflects,
“They should have stood up to Teacher and let him know that those abusive words
do not belong to me. Teacher would have listened, as he seems to always listen
to children of Ajebotas, with a silver spoon in their mouth. But they kept
quiet. They probably even enjoyed the humiliation coming to him” (43). This
perceived betrayal intensifies Kofo’s belief that the wealthy, including his
friends, are indifferent to the plight of the poor, exacerbating his sense of
isolation and mistrust.
Likewise,
the author delves into social injustice, portraying the autocratic behaviour of
senior military officials towards junior officers. This theme reverberates with
the works of Nigerian writers such as Festus Iyayi, Tanure Ojaide, Chris Abani,
and others who have criticised the African military for its injustices. The
military hierarchy often exploits and mistreats young officers, prioritising
personal gain over the welfare of their subordinates. This pattern of injustice
is evident in the treatment of young officers fighting insurgents in the
North-East region of Nigeria. Many have reported being denied access to
adequate weapons and experiencing delays in receiving their allowances. Sonja
echoes these sentiments, lamenting the unfair treatment suffered by junior
officers at the hands of their superiors:
I Musa. I went to war. I fight well. I was
even rewarded with field promotion to the rank of field officer, Second
Lieutenant and decorated with medals, like those old soldiers who went to fight
the white man’s war in Burma and Germany...Well, at the end of the war, the
officer’s rank was removed. They said I had no book certificate. They said I
was not trained, not commissioned. Hmm. I Musa who took all the daring risks
expected only from lions. Yes I was demoted to a mere corporal and retired with
a small pension, because I had only Primary Three. (24)
Furthermore,
Obafemi delves into the theme of distrust in Wheels, portraying the deep-seated
suspicion harboured by characters such as Sonja and Pa Garuba towards the
wealthy residents of Giro. They firmly believe in the segregation of social
classes and are quick to oppose any actions from the rich. This distrust is
vividly displayed during a community meeting held in Seun’s compound, where
Sonja forcefully seizes the microphone from Seun’s father (during a discussion
with foreign investors) to express his grievances about his unjust retirement
from the military:
My people, I fought in the war for two and a
half years. Dem discharge me with little money, few pounds wey no sabi feed me
and my wife. He turns to Seun’s father: ‘Look he gave the order that we shoot
the enemy. Most of the time from his bedroom, where he dey enjoyment the
benefit of all Soja wey don die for battlement...’ In those two years and more
oga marry two wives and build two big houses for city. He retire come village
build this empire. Now he dey praise his class and lef the rest of us for sun.
We don get enough yeye from our own people wey dey for power.... (100)
Sonja
consistently urges the impoverished residents of the Giro community to remain
vigilant against the manipulative behaviour of the wealthy. Similarly, Pa
Garuba cautions against the allure of white investors proposing mechanised
farming on Giro Land. He astutely discerns that this proposal is a guise to exploit
the land’s resources for their own gain, selling finished products back to the
land’s owners. Pa Garuba’s scepticism is evident as he warns, “‘People of Giro.
We need caution. This sun which rises gently in the morning may burn our skins
at noon. Second round of slavery is around the corner. This love of the goat is
proclaimed to eat our yams. The fresh romance of the woman for the chickens is
to make chicken dance in her soup pot’” (103). These words incite the community
to action, prompting them to chase away the new investors. Sonja and Pa
Garuba’s actions resonate with the ideals of Karl Marx, who advocated for the
oppressed to rebel against oppressive systems for their freedom.
Another prominent theme in Wheels is the exploration of religious
issues, mainly through the perspective of the child narrator, Kofo. This
narrative choice provides readers with a unique insight into how the
impoverished residents of Giro utilise religion as a source of comfort and a
platform to voice their grievances against societal injustices. An example of
this is seen in the Imam’s sermons, where he condemns the unequal distribution
of wealth in society. Kofo’s attempt to comprehend the Imam’s message is
evident in this quotation:
...He talks of plenty of poverty in our streets...He
says there is plenty of money and goods in the land for just a handful of
people. These few people build mansions buy cars, marry wives, and hide the
rest of the money in other people’s countries... He says God did not create
inequality; it is men, wicked and evil men, who have taken control of power.
(33-34)
Kofo expresses fear for the Imam, who boldly
criticises the wealthy individuals in the Giro community. He worries that the
Imam may face severe consequences for his outspokenness, believing that those
in power may send him to prison without trial or even resort to violence: “I
hear some of them who accuse men in power are sent to prison without trial...I
hear that those who expose powerful people are killed by bomb or hired killers”
(35). Through Kofo’s reflections, Obafemi highlights the societal realities of
inequality and oppression, shedding light on the government’s efforts to
suppress the truth.
Furthermore, through Kofo’s curious
nature, Obafemi explores the competition and corruption within religious
institutions. Gbenga, Kofo’s friend, suggests that many religious leaders are
fraudulent, amassing wealth through deceitful means: “Most of them are false.
They have millions of naira tricked out of the rich who come to them for prayers
and for the salvation of their souls” (37). Kofo, grappling with this
revelation, questions why God does not punish these deceitful leaders: “God
must know that these prophets are cheating him. Why does he not punish them?
Maybe God does not punish. But how can evil prophets stop being evil if nobody
punishes them, and they go on behaving as if they are holy and pure?” (37).
Through
Kofo, Obafemi delves into the concept of manipulating religion to achieve
personal desires, regardless of moral implications or the impact on others.
Kofo questions the teacher’s instruction to pray for their school to win a
football match, pondering the efficacy of such prayers when their opponents are
likely praying for the same outcome. This confusion arises during a playful
exchange with his friends, who seem more pragmatic in their approach. Gbenga’s
inquiry, “How now Kofo? Who is going to win this match?” (47), prompts Kofo to
assert confidently, “Our school of course, who else?” However, Seidu challenges
Kofo’s certainty by pointing out, “The other team has eleven players also,
don’t they?” (47), highlighting the irrationality of assuming divine
intervention in a sports competition.
Amid the conversation, Kemi
expresses her confusion by stating, “But I thought the side which has God on
its side will win, as our teacher said.” Seun responds to Kemi’s assertion by
questioning, “And which side is this?” Seun, who seems to be the most logical
among them, dismisses Kofo’s reliance on prayers by remarking, “We will need more
than prayers, Kofo, to win this match.” Seidu aligns with Seun’s pragmatic
view, asserting, “I believe that the side which practised much harder, trained
better, with the better game master and better equipment and many more skilful
players will win the match” (47). This exchange leaves Kofo even more
bewildered, seeking solace in his father’s words: “Papa used to say that if
somebody is not unlucky, somebody else can’t be lucky” (51). He finds it
perplexing why one person’s misfortune should result in another’s happiness.
Obafemi’s use of a child narrator
allows for a dual examination of human relationships spanning two generations.
Initially, the narrative, when focused on past events, tends to attribute the
plight of the poor to the selfishness of the rich. However, once Kofo assumes
the role of narrator, a shift occurs towards a more balanced portrayal of
events in the Giro community. Kofo acknowledges the presence of inequality and
social injustice but refrains from solely blaming the rich. He also critiques
the actions of the poor, who have chosen to isolate themselves from the rich
and are attempting to instil this mindset in the younger generation.
Kofo and his friends recognise that
the animosity and distrust between the rich and the poor in Giro will not lead
to meaningful development in the community. Consequently, they opt to promote
peace, unity, and harmonious coexistence. Obafemi deploys the child narrator to
advocate reconciliation between the social classes within the community. This
highlights the potential for positive change when different groups work
together towards a common goal.
Conclusion
Obafemi’s
Wheels explores postmodernist themes,
departing from traditional notions of reality and embracing the idea that there
is no objective reality or absolute truth. The novel encourages readers to
question grand narratives, as they do not inherently contain truths essential
for societal advancement. It critiques societal issues such as paranoia,
injustices, corruption, and alienation, which have been used to disempower the
masses. These issues are deemed inadequate in explaining the chaotic and
disorienting state brought about by traditional societal norms and values.
Works Cited
Allen, Graham. Intertextuality. Routledge, Taylor and Francis Group, 2000.
Barthes, Roland. ‘The Death of the Author’ Image, Music, Text. Trans. Stephen
Heath. Ne Hill and Wang, 1997.
Baudrillard, Jean. ‘The Procession of
Simulacra’. Ed. Bran Nicol. Postmodernism
and Contemporary Novel: A Reader.
Edinburgh University Press, 2002.
Best, S. and Kellner, D. The Postmodern Adventure: Science Technology, and Cultural Studies at
the Third Millennium. Guilford
Press, 2001.
Boghossian, Paul A. Fear of Knowledge: Against Relativism and Constructivism. Clarendon
Press, 2006.
Bowers, Maggie Ann. Magic(al) Realism. Routledge, 2005.
Derrida, Jacques. ‘Structure, Sign and Play
in the Discourse of Human Science.’ A Postmodern Reader. Ed. Joseph
Natoli and Linda Hutcheon. State University of New York Press, I993.
Hicks, S. Explaining
Postmodernism: Skepticism and Socialism from Roseau to Foucault. Scholargy
Publishing,2004<https://openlibrary.org/publishers/schorgy_publishing, _Inc
Hutcheon, Linda. The Politics of Postmodernism. Routledge, 1989.
Irele, Abiola. “The Political Kingdom: Toward
Reconstruction in Africa.” Socialism and
Democracy, vol.21, Issue 3,
pp.5-35, 2007.
Jameson, Fredric. Postmodernism: Or, The Cultural Logic of Late Capitalism. Duke
University Press, 1991.
Lindas, Julie. Engaging with Postmodernism: An Examination of Literature and Canon.
Web. June 2019<https://scholarship.colorado.edu/honr.theses/423.
Lyotard, Jean-Francois. The Postmodern Condition: A Report on Knowledge. Trans. Geoff Bennington and Brain Massumi.
University of Minnesota Press, 1984.
Membe, Achille. On The Postcolony. University of California Press, 2001.
Obafemi, Olu. Wheels. Kraft Books Limited, 1997.
Oladipo, Olusegun. Philosophy and the African Experience: The Contributions of Kwasi
Wiredu. Hope Publication, 1996.
Osha, Sanya. Kwasi Wiredu and Beyond: The Text, Writing and Thought in Africa. CODESRIA, 2005.
Sharma, Ramen and Chaudhary, Preety. ‘Themes
and Techniques of Postmodern Literature of
Shakespeare’ International Journal of
Educational Planning and Administration, Vol. 1 No. 2 189-198
<https://www.ripublication.com/ijepa/ijepav1n2_11.pdf Accessed March 10,
2020
Stephen, Nevil. Magical Realism: Locating its Contours in Postmodern Literature.
<https://mpra.ub.uni-muenchen.de/72636/1/MPRA_paper_72636.PDF. Accessed
March 12, 2020
Turner, B. ‘The Organizational and
Interrogational Development of Disasters’ Administrative
Science Quarterly 21, vol.21,
no.3, 1976, pp.378–397.
Waugh, Patricia. Metafiction: The Theory and Practice of Self-Conscious Fiction.
Methuen & Co. Ltd., 1984.