Indeed Ken.
Literary artists are trained to privilege arts above facts and historians facts above artistry.
I recall the very first undergraduate history essay I wrote when I could not tell the two apart for advanced level studies ( I recognised very well in Orfinary level history it was facts, facts facts! But then came A level studies when ' Mamluk' -my History lecturer-began to reiterate' we dont want you to tell us a toory '( sic))
Anyway that first undergraduate History essay got penalised for ' too flowery a language.' ( I remember him very well.)
The balance I was beginning to seek then was between facts, rhetoric and argumentation. Because my course offering was equally loaded between English and History, the English major in me rose to the fore in all encounters. I learned eventually the hard way its not one hat fits all stylistically and methodologically ( the same goes for the dichotomy of creative writing and literary criticism with which I wrestled about the same time and I received a similar comment on a literary essay too.)
It is the recognition and mastery of these styles at the highest levels of signification that mark out polymaths.
OAA
In any coalition by a majority with others to suppress the aspirations of another majority, Democracy is BASTARDISED.A MANTRA for 2023 elections in Nigeria.
Sent from my Galaxy--
-------- Original message --------From: "Harrow, Kenneth" <harrow@msu.edu>Date: 15/10/2021 22:07 (GMT+00:00)Subject: Re: USA Africa Dialogue Series - 2021 TOYIN FALOLA PRIZE SHORTLIST
historians love clarity; literary types ambiguity.many years ago i taught things fall apart, and it was a time of the rising black consciousness. at msu, as elsewhere. maybe 40 or so years ago.my most radical students--black radicalists--could not tolerate the notion of a hero committing suicide. i tried to say, well, okonkwo was no hero, but he did resist the british.
amgiguity!
and to add to it, achebe made plain in interviews afterward he was not interested in constructing a hero without warts. a bit like richard wright in his character bigger thomas. no hero. lots of warts.
these were not attempts at humanism, but at complicating the figures, especially under the impress of race. and the result? two classics, no?ken
kenneth harrow
professor emeritus
dept of english
michigan state university
517 803-8839
From: usaafricadialogue@googlegroups.com <usaafricadialogue@googlegroups.com> on behalf of Gloria Emeagwali <gloria.emeagwali@gmail.com>
Sent: Friday, October 15, 2021 9:15 AM
To: usaafricadialogue@googlegroups.com <usaafricadialogue@googlegroups.com>
Cc: 'Michael Afolayan' via Yoruba Affairs <yorubaaffairs@googlegroups.com>
Subject: Re: USA Africa Dialogue Series - 2021 TOYIN FALOLA PRIZE SHORTLIST--Some authors cowardly hide behind racist tropes. Others get smeared by their own characters.
So my humble advice to budding writers, is that you really should deploy some creative literary device that sets you apart from your racist characters.
Ambivalence is compliance. Even if the racist characters in the text were to fall off a cliff, drown in a tsunami, be eaten by a crocodile, or be murdered by a faceless drone, readers like me would be wondering about the author's relationship to the toxic concepts and fictional characters created.
Congrats to the nominees.Prof. Gloria Emeagwali
On Oct 15, 2021, at 07:18, Olusegun Olopade <bcmanager@toyinfalolanetwork.org> wrote:
----2021 TOYIN FALOLA PRIZE SHORTLIST
From the longlist of 11 entries to a strong shortlist of 6 stories.
Following the feedback of our judges and readers on the longlist, we do not doubt any of the stories making the shortlist, and this particularly emphasizes the quality of stories we received as well as that of those that have made it this far. Thus, we acknowledge the assiduousness of our judges in making this list possible. Also, we consider ourselves fortunate to be witnessing this period in African history and literature, and to be positioned as bearers of these tremendous reads to the world!
Mentioned in no order of importance:
1. "Superposition" – Justin Clement (Nigeria)
2. "Iphopho Le Vezandlebe" – Tshepiso Mabula (South Africa)
3. "Sinmot" – Blessing Nwodo (Nigeria)
4. "Should have Listened to Mother" – Mandisi Nkomo (South Africa)
5. "Hunger for Crystals" – Ernestine-Vera Kabushemeye (Burundi)
6. "Eavesdroppers" – Mary-Ann Egbudom (Nigeria)
Our judges have praised "Iphopho Le Vezandlebe" for its excellent narrative and intriguing weaving of time that allowed the story to move several bodies and minds effortlessly through loops of time. Justin Clement's story, "Superposition," received effusive mentions for its character-development strategies and the way it deftly shifts scenes in the mind of the readers. "Sinmot" by Blessing Nwodo also stood out for the vivid world it builds, a world crafted not only to upend familiar understanding of power dynamics but provoke readers into reconsidering popular understanding of the present. "Should have Listened to Mother" by Mandisi Nkomo packs a lot into making highly remarkable characters around whom the plot pivots, "Hunger for Crystals" by Ernestine-Vera Kabushemeye wields a story whose own materials penetrate the characters, and "Eavesdroppers" develops a main character whose presence fills up the plot without consuming it.
Once again, we are happy about this shortlist, and we hope that the coming weeks will yield a worthy winner from this already excellent pool. Given the strength of the stories in this shortlist and the Prize's vision to support literature on and outside the continent, not only will each shortlisted story receive $200; the strongest entries from the submissions received by the Prize will be published in an edited volume by 2022.
To the shortlisted writers, cheers!
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