African Literature: A Child from Two Worlds.
For over sixty years, African literature has defied easy definitions. The difficulty in pinning down its essence can be attributed to two factors. Firstly, there is an inherent human urge to seek definitive answers and categorize all concepts and ideas. Whenever the question "What is?" arises, we instinctively strive to find a suitable answer. Secondly, African literature originates from the diverse region known as Africa. Just as English Literature pertains to the literary works of the English people and American Literature encompasses the writings of Americans, one might assume that African literature should be literature written by Africans, for Africans, and centered around African ideals and experiences. However, this simplistic understanding of African literature has proven to be inadequate and inconclusive.
African literature emerges as a child from two worlds. It is a direct result of the historical interplay between Africa and Europe, where its development was not originally rooted in African cultural concepts. Instead, it found its place within the colonial imaginary, serving as a means to reinforce and delineate the distinctions between White and Black cultures. The colonial legacy left a lasting impact on African literature, imposing certain taxonomies and boundaries that often dismissed or marginalized the diverse voices and experiences within Africa. This limited understanding of African literature failed to recognize the vast array of literary traditions, languages, and themes that exist across the continent.
Africanity has often been portrayed as a discourse primarily associated with Black, Sub-Saharan experiences. However, it is essential to recognize that Africa itself is not a singular, homogenous cultural entity, but rather a diverse collection of societies and traditions. This understanding is crucial in approaching African literature, which can only be comprehended as a discourse rather than a unified cultural phenomenon. The absence of a unifying African culture challenges the existence of a distinct African literature. In this context, the term "African literature" can be seen as a construct influenced by colonialism, as it fails to capture the richness and complexity of Africanness. Therefore, African literature as conceived, consumed and critiqued today bear significant associations with Western literary discourse. This literature is a colonial production as it is often written in English and adheres to established European traditions.
Simon Gikandi, a Kenyan novelist, puts forth a compelling argument in his 2008 article “African Literature and the Colonial Factor”, highlighting the significant influence of colonialism on the emergence of modern African literature. According to Gikandi, the colonial factor has always played a pivotal role in shaping African literature, providing it with a voice and a sense of purpose since its inception. Gikandi asserts that the pioneers of what we now recognize as modern African writing, whether in European or indigenous languages, were individuals who had been shaped by the institutions established and developed by colonialism on the African continent. They were products of these institutions, and their experiences within the colonial system informed their literary endeavors. As a result, African literature can be characterized as an "othered" literature—a body of work that arises from the experiences and perspectives of those who were marginalized or positioned as the "other" within the colonial context. Therefore, the influence of colonialism on African literature cannot be underestimated, as it shaped the very foundations and motivations of the writers who contributed to its development.
To define African literature without acknowledging the profound impact of colonialism is to limit its scope to only a fraction of the Black experience. Literature, as a cultural production, is dynamic and encompasses a range of experiences from the people who create it. The concept of African literature as we understand it today emerged as a discursive response to colonial narratives found in works like Daniel Defoe’s Robinson Crusoe and Joyce Cary’s Mister Johnson. Chinua Achebe’s seminal African classic, Things Fall Apart, serves as an example of a resistance novel aimed at correcting the distorted portrayals perpetuated by English literature. In fact, one could argue that Achebe’s awareness of his African identity and marginalized position was shaped through his engagement with these colonialist writings. The title of his novel, Things Fall Apart, may even draw inspiration from W.B. Yeats' poem, "The Second Coming." Therefore, without the experiences of colonialism, African writers would be unable to fully explore and depict their blackness.
Another reason why African literature cannot be exclusively considered a Black cultural production is that its writers do not possess unique literary traditions solely indigenous to Africa. While there is a concerted effort to reflect Africanity through language, imagery, settings, and other literary techniques, many African writers today demonstrate a strong connection to Western literary traditions. This can be observed in the works of poets like Christopher Okigbo, whose poems, such as "Heavensgate," while reflecting ritual practices in his homeland, are clad in the modernist poetry traditions employed by English poets like T.S. Eliot. Hence, even though the content of most African fiction is Africanized, the works often fit into certain categories and forms within European literary traditions. African literature can thus be seen as a fusion of African and European influences, as it seeks global recognition and attention. In order to be considered modern and widely accepted, literature is expected to adhere to Western traditions and align with certain tendencies that contribute to its global recognition. As a result, what we consume as African literature today can be seen as a product of the colonial influence.
In an attempt to assert their individuality in a world where they often occupy marginalized positions, Black writers strive to fully depict their experiences. However, they do so in a manner that conforms to the standards of Western literary ideals. This dynamic illustrates that African literature cannot be confined to covering only a fragment of the writer’s experience. It is a complex and multifaceted body of work that encompasses diverse influences and reflects the interplay between African and European literary traditions.
Attempts to pigeonhole African literature have consistently led to controversies and debates. In 1963, writers and critics convened to address fundamental questions related to determining the language of African literature, the criteria for being considered an African writer, and what constituted African writing. This gathering in Uganda represented a significant moment in resisting European interference in African literature and asserting its identity as a distinct Black cultural production. However, this endeavor was not without its controversies, sparking profound reflections and discussions among the participants.
The controversy that arose during the conference stemmed from the question of language in African literature: which language is most suitable for writing African literature? This question gave rise to two contrasting perspectives. One viewpoint, expressed by Obi Wali in his essay "The Dead End of African Literature" (1963), argues that literature written in European languages cannot be considered African literature. Wali puts forth a dissenting argument, highlighting that the adoption of these European languages brings to the forefront the atrocities of colonialism. According to Wali, these languages are remnants of colonialism, serving as constant reminders of the traumatic experiences endured during colonial rule. This dissenting perspective asserts that the use of English or French for African literary expression perpetuates linguistic imperialism.
One proposed solution was to choose an African language as the primary medium for writing, aiming to establish an African linguistic identity. Several African languages were suggested; however, the demands of international communication and the need to engage with the world beyond Africa complicated this aspiration. Ayi Armah noted that while selecting an African language seemed promising, the desire for international recognition and communication with the outside world undermined the dream of a solely African linguistic identity among African writers. As a result, European languages continue to serve as a means through which the outside world can gain insight into Africa’s true essence.
While writers like Ngugi wa Thiong’o have advocated for the rejection of a "borrowed tongue" that fails to capture the depth of African experiences, as it lacks the incorporation of African proverbs, speech peculiarities, and folklore, other prominent figures such as Achebe, Soyinka, and Ayi Kwei Armah argue that works written in an Africanized European language still belong to the African literary tradition. They contend that through the nativization of words, phrases, idioms, songs, and proverbs within the context of their representation, writers can infuse these works with an authentic African essence. This perspective challenges the notion of restricting Africa to a single language.
As Ayi Kwei Armah asserts, Africa is currently grappling with linguistic neocolonialism, awaiting a breakthrough that will free it from the dominance of colonial languages. Armah acknowledges the vast diversity of Africa and asserts that a language truly reflective of its ideals and experiences has yet to emerge. To fully appreciate African literature, it is imperative to move beyond simplistic categorizations and embrace the rich tapestry of literary expressions that emanate from different regions, languages, and cultures within and beyond Africa. It is essential to regard African literature as a child from two worlds, acknowledging its dual heritage and allowing it to flourish in its own unique way. By recognizing and honoring the multiplicity of African voices, we can transcend the limitations imposed by a colonialist conception and cultivate a more inclusive and comprehensive understanding of African literary traditions.