Re: USA Africa Dialogue Series - Discoveries in Multiple Kinds of Sacred Space: Finding a New Abiola Irele Essay Amidst the Cultural Delights of Cambridge

Toyin,
This lovely!
I am reading it. Thank you for sharing it.
Sincerely,
Obododimma.

On 6/4/19, Oluwatoyin Vincent Adepoju <toyin.adepoju@gmail.com> wrote:
> [image: download.jpg]
>
>
>
> *
> Discoveries in Multiple Kinds of Sacred Space *
>
> * Finding a
> new Abiola Irele Essay Amidst the Cultural
>
> Delights of Cambridge *
>
>
>
>
> *
> Oluwatoyin Vincent Adepoju*
> *
> Compcros <http://danteadinkra.wixsite.com/compcros>*
> * Comparative
> Cognitive Processes and Systems*
> * "Exploring Every Corner of the Cosmos
> in Search of Knowledge"*
>
>
>
> *Discovering a New Abiola Irele Essay *: *An Invitation to Delights
> of Conceptual Density and Stylistic Creativity*
>
> I am writing this to announce to anybody who is interested that I just
> discovered a new essay by the philosopher, literary and cultural critic
> Abiola Irele.
>
>
> Why should I be so happy to discover an essay by anyone? Is he a writer
> whose work has long been out of circulation and badly needs organization
> into an accessible format? Is it like a Vincent van Gogh
> <http://en.wikipedia.org/wiki/Vincent_van_Gogh> work, one of those lost Van
> Gogh sketches, perhaps one of those he gave up to a landlord in payment
> for rent in the hungry years when he was building his art, a discovery that
> could net me a fortune? Imagine the irony-Van Gogh died desperately poor
> in 1890, of a self inflicted gunshot wound in a sanatorium. Yet, when an
> airline a few years ago wanted to advertise how much they can save
> companies that fly with them, they did not use any words. They simply
> showed the picture of a Van Gogh painting as the value of what could be
> gained by using their services. . Van Gogh has become so priced that many
> museums cannot afford his work. Is the discovery of the Irele essay in
> that magnitude of fortune?
>
> Not in a monetary sense.
>
> Irele is very much alive and well at Kwara Sate University in Nigeria [
> This essay was written in 2013. The master transitioned in 2017]. The
> essay is in a modern book in a bookshop just down the road from the central
> public library in Cambridge. I feel fulfilled because it means that I have
> seen an Irele essay I did not know about before.
>
>
>
> Why is an Irele essay important to me and possibly to others?
>
> It is so because Irele's writing is great in conceptual density and
> stylistic creativity. Anything written by Irele is an event. His sentences
> and paragraphs constitute research projects, so loaded are the lines with
> ideas, a radiant dynamism of ideation and expression evoking glimpses of
> a cognitive universe beyond, of which the sentence is a peak rising above
> a vast world lying beneath.
>
>
>
> *Correlative Sacred Spaces : Places of Worship and Places of Learning *
>
> Where did I see this essay?
>
> I came across it as I was browsing through the Cambridge University Press
> flagship bookshop on Trinity Street, Cambridge. I had settled down to work
> in the Cambridge Central Library when I became restless and decided to go
> for a walk. I have learnt that such restlessness is often productive. It
> means my spirit wants to show me something. I put it that way because that
> need to wander towards an unknown destination always leads to inspiring
> discoveries.
>
> Cambridge bookshops and Cambridge college chapels and churches are two
> correlative forms of sacred space, the spatial density of both within the
> city centre evoking most powerfully the alliance of spiritual seeking and
> learning that is at the centre of the history of the university city. The
> cloistered silence, the magnificent interiors of the chapels and churches
> encase wonderful spaces where the mind can roam at will in seeking that
> which is not named yet is the mother of the ten thousand things, to evoke
> the philosopher Lao tzu in his *Tao te Ching*.
>
>
> These explicitly sacred structures resonate ( a word I learnt from Irele
> through the term "articulated resonance" describing the task of the
> literary critic in his "The Criticism of Modern African Literature")
> with the cathedral splendour of the bookshop, be it Heffers, with its
> magnificent cascades of shelving, located on Trinity Street, the same
> street housing the ancient façade of Trinity College, where Isaac Newton
> would have taken his solitary walks pondering celestial immensities, his
> mind revolving with the orbits of the celestial bodies, capturing those
> grand revolutions in numerical relationships and precise verbal
> descriptions now known as the theory of gravity. " So I walk the same
> streets as the master of space", would be my thought as I lay my hand on
> the ancient door to Trinity.
>
>
>
> The intimate grandeur of the Magdalene College chapel, in its balance of
> grace and radiant dignity, evokes the contained splendour of Waterstones
> bookshop, on Sidney Street, itself echoing, by contrast, the now vanished
> spaces of the colossus of bookshops, Borders, which, in comparison with
> the more limited spatial aspirations of other bookshops, recalls the
> absolute command of space, the transformation of the surrounding landscape
> into the awesome depths of oceanic infinity, an impression created by the
> sheer bulk and awesome grace of that structure resting on the desert sands,
> as one observer describes the experience of confronting the wonder of the
> ancient world represented by the Pyramids of Giza
> <http://en.wikipedia.org/wiki/Giza_Necropolis>, Borders, whose death was
> one of the great losses of the world, the end of a wonder of civilization.
>
>
>
> The jewels of the Oxfam bookshop further down on Sidney Street, the
> density of texts in the Amnesty International bookshop on Mill Road, the
> treasures of G. David beside the watching gravestones congregating in the
> churchyard of St. Edward's Passage, the wonderful bargains of the Angel
> Bookshop and the eye opening, never ending discoveries of the market
> booksellers, the uncompromising wealth of the cognitive density and sheer
> expansiveness of the Cambridge University Press Bookshop, all these
> recall the wealth concealed in the resonant silence of St. Bene'ts church
> on Bene't street, small in space but manifesting a core of silence that
> evokes unspeakable treasures at the intersection of the source of being
> and the world of becoming.
>
>
>
> These bibliophilic luminaries imply that I am like a person faced by
> an awesome landscape as described by Immanuel Kant on the Sublime in
> his *Critique
> of Judgement*, reduced to smallness by the sheer scope of variegated
> possibility, and yet vastened by the enlargement of self represented by
> the self reaching out to embrace this ever expanding universe of
> knowledge.
>
>
>
> *The Cambridge University Press Bookshop*
>
>
> It was in that spirit I stumbled on the *Cambridge Companion to the African
> Novel*
> <http://www.amazon.com/Cambridge-Companion-African-Companions-Literature/dp/052167168X>.
> edited by Abiola Irele. Ahhhh Irele...hmmmm, it would be good to see what
> he has to say about the African novel, particularly at this point in time.
> When was it published? 2009. Not too far away, not very near either.
>
> Looked through the list of contents. Saw Dan Izevbaye, one of those who
> defined the landscape of writing about African literature some years ago.
> Saw Ato Quayson, who has written some theoretically rich and sophisticated
> works I have come across. Looked quickly through the others. I put the
> book down. Will come back for it later. Looked at other books.*The
> Cambridge Companion to Medieval English Mysticism*
> <http://www.amazon.com/Cambridge-Companion-Companions-Literature-ebook/dp/B009UTEYSQ>.
> Very promising. Mysticism, the idea that it is possible to experience God
> directly, face to face, to put it in one way. Anything on African
> mysticism? None on display nor do I expect any in publication here. A new
> field, which I intend to contribute to building [ I have begun with these
> essays : "Mystical Theory and Experience Across Cultures" Part 1
> <https://www.facebook.com/notes/oluwatoyin-vincent-adepoju/mystical-theory-and-experience-across-cultures-part-1/10152209719269103/>
> and Part 2
> <https://www.facebook.com/notes/oluwatoyin-vincent-adepoju/mystical-theory-and-experience-across-cultures-part-2/10152944419179103/>
> ]. Any other books on mysticism? Yes, I am told. *The Cambridge Companion
> to Christian Mysticism*
> <http://www.amazon.com/Cambridge-Companion-Christian-Mysticism-Companions/dp/0521682274>
> and
> another on mysticism and negative theology-the idea that God is best
> described in terms of what he is not rather than of what he is, to
> summarize one definition.
>
>
> Saw the names of the immortal greats in literature, theology etc-
> *Cambridge
> Companion to Kafka*,*Cambridge Companion to Karl Barth* etc. "When are you
> going to publish a companion to my work?", I feel like asking the
> booksellers with a very serious face, the way that the other day, grasping
> the *Dictionary of Fellows of the Society of Engineers* at the Oxfam
> bookshop, I challenged the bookseller "Why is my name not here?!" The man
> laughed. Or the time in the bookshop in Finchely, London, when, with a dead
> earnest face, I queried the bookseller, "When are you going to carry copies
> of my book?!" The poor man thought I was serious until I explained the
> joke.
>
> Went upstairs. How, in the name of God, am I going to cart all these books
> to my library? Imagine the empowering wonder of being surrounded by all
> these books, from mathematics, to physics, to philosophy of science, to
> ecology to architecture, to philosophy and more. Imagine if they were all
> mine, safely enthroned in my own space, to be read at will. Imagine what I
> would become!
>
>
> I had to ask the bookseller on the top floor, "Does your publishing house
> give book advances?" Perhaps I could join this select club of authors and
> be fortunate enough to make some money in the process. "No. The books are
> not expected to sell in large numbers, so only a small print run is
> anticipated for each book, relatively few copies of less than a thousand
> are expected to be printed, and will be bought by institutional
> collections. In such a tight market, not much money is being made, even by
> the Press. The best the Press can do is give royalties. People don't
> publish with Cambridge to make money. Its is the brand. The prestige.
> Keeping that in mind, the brand is so carefully monitored each book goes
> through a panel of assessors to determine if it is a book we should publish
> in terms of its contribution to knowledge".
>
> True. It truly is grand. I see the books are so rich, so powerful that
> even with their often daunting prices it is clear you have to read them
> if that is your formal field of study or interest. It is beyond compromise.
> Anything else would be self cheating. Cambridge UP has such a solid
> grounding in hard core knowledge in various fields that their books are
> unavoidable..
>
> There is this absolutely mouthwatering series the *Cambridge History of
> Science*
> <http://www.cambridge.org/gb/knowledge/series/series_display/item3936868/?site_locale=en_GB>.
> Fantastically rich in scope and perspectives, described as the "first
> comprehensive history of science in 30 years...The contributors, world
> leaders in their respective specialties, engage with current
> historiographical and methodological controversies and strike out on
> positions of their own", yet the price of even one volume of the eight
> volume work, the cheapest being £100, does not seem to call out for
> immediate purchase as you are drawn to it.
>
>
> "Exactly. That kind of book would have been worked on by many contributors
> over a long period of time", the bookseller responds. "How is such a work
> to be priced? Who is expected to read it? Who will buy it? It will be
> read, it will be bought but its direction is specialized and those
> institutions that must have it as part of their foundations of knowledge
> have budgets for such acquisitions", is my summary of the bookseller's
> further justification of the Press' strategy. "We produce works that
> constitute the very foundations of knowledge in various disciplines, the
> inescapable summative and critical engagement with both the cutting edge
> and the state of the field within both historical and contemporary
> lenses in each field, the bedrock on which other works stand", is how I
> sum up the vision of his presentation of the vision of Press, and he
> concurs.
>
>
> *Books, Cookers, Suits and Shoes*
>
>
> Aga Range Cookers <http://www.agaliving.com/> were on display a short
> distance from the library. Constructed with the power of trucks and the
> elegance of a modern jet. Price- £10,000. Hire purchase-£250 down payment
> and about £150 or slightly above monthly payment. According to the
> salesman, they last for generations. An Aga kitchen is associated with a
> certain kind of person and a certain kind of home. For some people, it
> is a way of signalling they they have arrived, is his summation of the
> meaning of the brand.
>
> Loakes Shoes, <http://www.loake.co.uk/loake-1880.html>with the sleek lines
> of a jaguar and the feel of tender power, in the Charles Clinkard
> <http://www.charlesclinkard.co.uk/> shop near the library are priced at
> almost £200 and above. I see people wearing such shoes. Some of the
> nearby Charles Tyrwhit
> <http://www.ctshirts.co.uk/default.aspx?q=gbpdefault%7C%7C%7C%7C%7C%7C%7C%7C%7C%7C%7C%7C%7C%7C%7C>
> t's suits,
> <http://www.ctshirts.co.uk/men%27s-suits/Grey-mohair-tailored-fit-Black-Label-suit-?q=gbpdefault%7C%7CBSA18GRY%7C%7C%7C%7C%7C%7C%7C%7C%7C%7C%7C%7C%7C&sortBy=Price%20%28Descending%29>
> solid, delicately cut, are labelled £229 and £349.
>
> On the online Style Forum
> <http://www.styleforum.net/t/194586/cheaney-vs-crockett-jones/15>,
> discussing men's shoes, someone comments: "I am thinking to go for C&J
> Hallam in black. This is my first pair of Oxford. Do you think the front of
> the shoe(toe cap?) look[s] a bit weird? Is the price of USD333
> reasonable?"
>
> Moving from the Web back to Cambridge, away from the city centre past
> King's College, you get to Ede and Ravenscroft
> <http://www.edeandravenscroft.co.uk/> opposite Corpus Christi College on
> Trumpington Street. Quietly powerful with the potent elegance of the suits
> on display. You are confronted with a world whose distinctiveness is
> evident, distinct even from the costly elegance of the shops on the high
> end Grand Arcade where you find Anga, Loakes and Charles Tyrwhitt. At this
> point, you have entered a lifestyle enculturation zone, where you
> distinguish between the suit for weekend wear and the suit for formal wear.
> For the weekend <http://shop.edeandravenscroft.co.uk/collections/weekend>,
> you are spending about £400 and above for a suit and £295 for an umbrella
> walking stick . For a suit for formal wear
> <http://shop.edeandravenscroft.co.uk/collections/formal?page=1>, you spend
> £450 to £550.
>
>
> Beyond the pedigreed world of Ede and Ravenscroft is the uncompromising
> focus on elegance at the highest pitch at Anthony
> <http://anthonymenswear.co.uk/> on Trinity Street, where all other
> Cambridge clothes shops are dwarfed in terms of price and perhaps in sheer
> refinement of the art of men's clothing. The ties, the shirts, the
> jackets, are obvious expressions of a pinnacle in the glory of clothing,
> that transformation of necessity into art central to much of civilization.
>
>
> "You could buy a suit here for a £1,000 but it would be a very good suit"
> the man in charge inside Anthony dressed in the sharp but sober accents
> evident in the display on the shop window declares. The shop's offerings
> are largely Italian and are clearly different from anything else in shop
> window displays in Cambridge, even though it stocks the same standard line
> of suits, jackets and ties as the others but with a touch that stands out
> with a subtle and yet definite uniqueness. "Do you think Italians
> demonstrate more style than the English?" I ask him? "Of course. The
> Italians do not compromise. They are in a different class entirely" is my
> understanding of his response. *"*If someone wished to shop at the best
> place in Italy for the most elegant attire, without the trouble of flying
> there – Anthony's is the perfect service" is the testimonial of Professor
> A.Gibson, Cambridge, on their website.
>
>
> I never fail to notice and stop to gape with veneration at the window
> display. "This is how a human being should be clothed", is the impression
> it gives me. Clothed in fabrics and a flawlessly stylish cut that
> reflects the serene perfection of the art of nature as demonstrated in the
> human frame. Beside the gloriously sharp shirt and eloquent delicacy of the
> ribbon that is the tie beside it, is the statement of the monetary value of
> this arrival at true recognition of how to honor the human being through
> sartorial culture:
>
>
> "Canali suit: £995; Canali silk jacket: £795; Working watch cufflinks-
> small watches in the form of cufflinks: £95".
>
>
> "Anthony is a shop that brings the essence of Bond Street and quality of
> Savile Row to Cambridge" states their website. You need to experience the
> concentrated sophistication of the commercial and lifestyle nexus that is
> Bond
> Street <http://en.wikipedia.org/wiki/Bond_Street> in London to grasp the
> point being made, added to the evocation of Savile Row as the heart of the
> most exclusive menswear industry in England.
>
>
> The Savile Row reference leads you to another world entirely, where "your
> needs, hopes and desires" for your suit are crafted into the suit, handmade
> especially for you alone, with suits in the "golden mile of tailoring" as
> Wikipedia <http://en.wikipedia.org/wiki/Savile_Row> puts it, starting at
> around £3,000
> <http://www.gq-magazine.co.uk/style/articles/2011-07/19/savile-row-bespoke-suits-best-tailors-london/viewall>
> .
>
>
> One totally bespoke or total tailor made suit outfit in Cambridge is
> Tailor
> and Cutter <http://www.tailorandcutter.co.uk/> in the exotic sinuous weave
> of All Saints Passage, the shop space evoking nothing more than the
> workmanlike innards of a workshop, an eschewing of elegance understood by
> the cognoscenti as a focus on process leading to an exquisite product, a
> product that is so unique no example needs to represent it in the name of a
> window display. An outfit so confident of their clientele and image, they
> don't bother to use email. The customer base finds you even outside of such
> modern innovations, or so I had thought, until I saw their mail address on
> their website.
>
>
> On inquiry, I am told a jacket would cost about £800, a two piece suit
> £1,200. The Savoy Taylors Guild/Moss Bros
> <http://en.wikipedia.org/wiki/Moss_Bros_Group> opposite the imposing
> beauty of St. John's college chapel tower on St. John's Street describes
> this process in its formula "Go Bespoke from £295" : "Customise your cut (
> "alter the cloth to flatter your shape"). Choose your cloth (" Choose the
> fabric that feels right for you"). Create your suit" ( "Add character
> through details that are exclusively yours"), with the powerful sartorial
> forms on display cut down in price in a near mid-year sale : Suit- £499 now
> £299; £399.
>
>
>
> *Between Limited Means and Ever Expanding Ends *
>
>
> So, what are we saying?
>
> One view of economics is that it is the study of the management of scarce
> resources, implying that since supply and demand can never be equal and
> disposable income is never equal to demand, opportunity cost, whether in
> terms of tangibles or intangibles must be factored into all transactions.
> For every choice made is a price not paid? Is something not always given
> up to get another thing? Even a hermit who owns nothing except his life
> which he might not even own since he can't prevent it from ending its
> terrestrial existence, must pay a price to own nothing. Some Indian
> hermits go naked because they worship the One Who Owns Everything and
> therefore Possesses Nothing.
>
>
>
> "These books are not such that they are expected to be bought by
> individuals. It is not expected that a person would just walk in and buy
> one off the shelf. That would be so for the cheaper works like the
> "Companion" series [ which, even then, cost more than the average book]
> , but the broad range of books are expected to go to institutional
> libraries which have budgets for such acquisitions" sums up the Cambridge
> University Press bookseller.
>
> Of course, to a person like myself, such strictures do not apply. As far as
> I am concerned, budget or no budget, where book acquisition is concerned,
> I am equivalent to an institution. I will do whatever it takes to get them.
> In all circumstances, my library must grow. All materiel considerations,
> all comforts, may be postponed till tomorrow but a book missed represents
> opportunities lost forever. Even if the book is bought another day, the
> particular intersection of opportunity and capacity for illumination in
> the fertile soil represented by the state of the mind at the point in time
> when the book is first encountered cannot be regained.
>
> What scope of finances is required to truly fulfill such a philosophy? What
> are the chances of acquiring such finances from within a radically
> bibliophilic existence? Are these questions not an analogue to the
> relationship between finitude and infinity? How did Dante put it at the
> climax of *Paradiso*? "I tried to understand how that contradiction could
> be, how the human image could fit into the Other, but it was impossible,
> like a geometer trying to square a circle, but a sudden light smote my
> understanding so that I knew, but knowing without thought" is one way of
> paraphrasing the wondering description of the Florentine master.
>
>
> *Infinity of Learning and Scope of Being *
>
>
> "I hold the buying of more books than one can read as nothing less than
> the soul's reaching towards infinity, which is the only thing that
> raises us above the beasts" -Anonymous- Waterstones Cambridge bookshop
> inscription.
>
> J. Ki-Zerbo in the wonderful essay on "African Prehistoric Art" in the
> fantastic *UNESCO General History of Africa
> <http://www.unesco.org/new/en/culture/themes/dialogue/general-and-regional-histories/general-history-of-africa/volumes/complete-edition/volume-i-methodology-and-african-prehistory/>
> Vol.I
> :
> <http://www.unesco.org/new/en/culture/themes/dialogue/general-and-regional-histories/general-history-of-africa/volumes/complete-edition/volume-i-methodology-and-african-prehistory/>**Methodology
> and African Prehistory
> <http://www.unesco.org/new/en/culture/themes/dialogue/general-and-regional-histories/general-history-of-africa/volumes/complete-edition/volume-i-methodology-and-african-prehistory/>
> *argues
> that the creation of art is the one cultural form that marks humanity as
> distinct from animals. It has been proven that animals make tools. Perhaps
> Ki-Zerbo is not accurate even with the focus on art. Bees are described as
> constructing intricate movements to signal to other bees the distance to
> locations of food. Is that not dance, a form of art? Philosophies of nature
> which do not limit sophisticated cognition to human beings are more
> diffident, more qualified about what constitutes the distinctively human or
> what represents the most valued qualities within the tapestry of nature.
>
>
> To such schools of thought it is not true that nature is meaningful
> primarily because it comes within human comprehension, as Julian Thomas on
> "Archeologies of Place and Landscape" in Ian Hodder's edited
> *Archeological
> Theory Today*
> <http://www.amazon.co.uk/Archaeological-Theory-Today-Ian-Hodder/dp/0745653073>
> describes
> a point made by the philosopher Martin Heidegger. Others were here before
> you and have developed means of awareness and of being very different from
> yours and from whom you can learn, if you adapt yourself to them, such
> views would assert. "The Gods of the world are trees and animals, long,
> long before they entrust their sacrosanct magnificence to a human figure"
> declares Susanne Wenger in Hotter and Brockmann's *Adunni: A Portrait of
> Susanne Wenger.* Within such contexts, considerations of cultural forms
> and their relative value take on a different hue than in a human focused
> universe.
>
>
> What would such views hold about the unfulfillable yearning to learn
> represented by the infinity of books as raising the human being above
> animals? I would not know but it might be held that that tree might have
> much to teach you that might not be available from any book. Yes, you can
> cut the tree down in a short time. It is defenceless to you just as you are
> defenceless to the vagaries of accident and the relentless entropy of
> time, an outcome beyond your control. Perhaps the tree and yourself exist
> within different but convergent universes of value, a symphony in which
> various harmonies conjoin to create a rhythm so blinding in its intensity
> we cannot see its pattern but only its units, so thinking ourselves alone
> in awareness of the experience of being.
>
> Having been both made small, on account of seeing how little I am in the
> forest of learning, and vastened since I aspire to know as much of that
> forest as possible, realizing the capacity for this achievement within
> me, I return to the library to tell you of my adventure this morning.
>
> --
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--
--
B.A.,First Class Honours (English & Literary Studies);
M.A., Ph.D. (English Language);
M.Sc. (Legal, Criminological & Security Psychology);
Professor of Cultural Semiotics & Stylistics,
Department of English,
University of Ibadan.

COORDINATES:

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