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Postmodernist Themes and the Multifaceted Nature of Truth in Olu Obafemi’s Wheels

 


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.

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