For Teju Olaniyan
The terse message flashed over my cell phone on the evening of Saturday, November 30th as my wife and I attended a friend's birthday bash. "Obituary: Teju Olaniyan is gone." The message, broadcast to the USA Africa Dialogue List Serve, was from the moderator, Toyin Falola.
The hilarity of the packed arena suddenly faded into a muffled buzz as I found myself sinking into an imaginary hole. The crowd, comprising Nigerians, many of whom were dressed in "Aso Ebi," became a massive blur like splotches of muted colors on an artist's palette. I stole another discrete look at Falola's main message. "We lost him, an outstanding scholar." I went into shock. I was paralyzed; dumbfounded. Since Saturday, I've struggled to find the words and courage to express my incredulity. For me, Teju's loss is visceral.
He was (and will forever remain in our books) one gem of a scholar. More than that, Teju did succeed in excavating extant cartoons as embodiments of national lore and collective foibles and codifying them into scholarly narratives. This was at once epochal and pivotal. From his academic trench in Wisconsin, Teju made it his life-long mission to curate and analyze the fugitive and slippery intangibles that give cartoons their mirth into graspable narratives. He elevated the genre to a rarified level that gives prominence to the artists behind the cartoons. The outcome can be seen in his body of scholarly output, including his https://africacartoons.com/ an encyclopedic and interactive website that is devoted to showcasing African cartoonists and, in the process, drawing attention to the seemingly contradictory thesis that cartoons are not funny; that cartoonists are not jesters; and that society should take this genre seriously. This quest to theorize African cartoons into scholarly discourse led to his most recent monograph, Taking African Cartoons Seriously, which he co-edited with Peter Limb.
Teju Olaniyan will rank high on the list of African sojourners on the global arena who have succeeded in using their talents and intellect to edify Africa. In the process, Teju has inscribed himself into our consciousness. I remain stunned by the fact that he is no longer in our midst. I am however consoled by the certainty that Teju has created an enduring template, one that will stimulate the scholarship of African cartoons.
In times like this, the indescribable pain of Teju's wife and children plays strongly on my mind. For those of us who have been in a situation such as this, it is undoubtedly gut-wrenching. Negotiating the five stages of grief—from denial and anger, through bargaining and depression, and finally to acceptance, takes time. It also takes the support of family, friends, and associates. May the Lord give Teju's family the fortitude that is necessary to cope with their loss.
dele jegede, Ph. D.
Miami University. Oxford. OH
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