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Do you ever find yourself asking: How do I find address by phone?, If a number is blocked can I still find it?, How do I eliminate prank callers?, Does *67 or *69 Work?, How should I handle threatening callers?, How do I Access Phone Records? I’m sure you have asked yourself at least one of these questions otherwise you would not be here. Great News once your done reading my article you will know how to do all these things. I’m going to show you:

How to find address by phone number

Find the identity of unlisted numbers

Put an end to Prank Callers

Stop blocked number prank calls

Find people by telephone number

The first thing you should know are your laws. It is illegal in most states to make obscene, harassing, or prank calls. Foul language and intimidation are just some symptoms of a prank call. Knowing your laws let’s you know what you can and cannot do if you are a victim of pranksters. You can trace calls illegally and legally, because I don’t want to go to Jail and I’m pretty sure you don’t, we’ll go over the legal ways to stop the pesky prank call problem.

“What is considered a prank call?”

If you have only received only one prank call then it will not be enough for the company to do anything. If you receive them on the regular than you can have the phone company set a trap. Traps take a little bit of time to work so sometimes a trace is used. You can trace it yourself doing a reverse phone lookup, if you don’t know what that is than you can learn about it HERE. If the caller threatens your life and you sense they are serious than you should notify the police and your telephone company, as well as do a reverse phone lookup.

“How Do I Deal With Prank Calls?”

Reporting them to either police or phone company is the best idea. If you consider it an emergency than call the police, if not than don’t waste their time. The phone company will report it to the police if is not an emergency, so the criminal will be warned. If prank calls persist consider telling your phone service to no longer accept blocked calls. Sometimes a fee is charged to do this. Use a reverse phone lookup if you have the number but no address.

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Christopher Ifekandu Okigbo one of the earliest Nigerian poets, who within his short lifetime, for he died fighting for the independence of Biafra, established himself as a central figure in the development of modern African poetry,has remained one of the most important African poets to write in English. Generally acknowledged as a master poet in spite of a complexity drawn from obscure allusions and symbolism, he has even been named Africa’s finest poet and one of the major modernist writers of the twentieth century. “For while other poets wrote good poems,” Chinua Achebe observed.”Okigbo conjured up for us an amazing, haunting poetic firmament of a wild and violent beauty..”

His birth and early life

Okigbo was born on August 16, 1932, in the town of Ojolo, about ten miles from the city of Onitsha in Anambra State, to a father who was a teacher in Catholic missionary schools during the height of British colonial rule in Nigeria, Okigbo spent his early years moving from station to station along with his father. Despite the fact that his father was a devout Christian, Okigbo felt a special affinity to his maternal grandfather, Ijejiofor of the Oto family, who has always provided the priesthood to the shrine of the deity Idoto personified in the river Idoto that flowed through his village. Later in life, Okigbo came to believe that his grandfather’s soul was reincarnated in him.

His Educatiiobn at Umuahia and Ibadan

Okigbo graduated from Government College Umuahia two years after the noted Nigerian writer, Chinua Achebe, having earned himself a reputation as a voracious reader and a versatile athlete. The following year, he entered the University of Ibadan to study Medicine, but switching to Classics in his second year.. He also earned himself a reputation as a gifted pianist, accompanying Wole Soyinka in his first public appearance as a singer. It is believed that he wrote original music at that time, though none has survived.

His initial literary work and art

After graduating in 1956, he held a succession of jobs throughout the country. He worked at the Nigerian Tobacco Company, United Africa Company, the Fiditi Grammar School (where he taught Latin), and was Assistant Librarian at the University of Nigeria in Nsukka, where he helped found the African Authors Association.

In 1958 his life came to a turning point as he sought to know himself better.He began publishing his works in various journals, notably Black Orpheus a literary journal that was bringing together the best works of African and African American writers. While his poetry was in part a powerful expression of African nationalism, he was adamantly opposed to Negritude, which he denounced as a romantic pursuit of the “mystique of blackness” for its own sake. He also rejected the conception of a commonality of experience between Africans and black Americans, even though it contravened the editorial policy of Black Orpheus. For Okigbo, poetry was a highly personal endeavor. Even though he embraced African culture he rejected the literary concept of Negritude, for he thinks he was just a poet.” A poet writes poetry and once a work is published it becomes public property. It’s left to whoever reads it to decide whether it’s African poetry or English.” He therefore said that there was not any such thing as a poet trying to express African-ness as such a thing doesn’t exist. A poet just simply expresses himself. On precisely these grounds he rejected the first prize in African poetry awarded to him at the 1965 Festival of Negro Arts in Dakar.

In 1963 he became West African Representative of Cambridge University Press at Ibadan, a position which enabled hiim to travel frequently to the United Kingdom, where he attracted further attention. At Ibadan, he became an active member of the Mbari literary club.For he was among the many young artists who were looking for a platform to exchange their views and share their various talents. He and Soyinka, were also musicians, performing in jazz clubs. Consequently in 1961 the Mbari Writers and Artists Club was born in Ibadan founded by the German writer and critic Ulli Beier. who invited Okigbo to be one of the original Mbari committee members together with: Georgina Beier, Wole Soyinka, J. P.Clark, Chinua Achebe, Ezekiel Mphahlele, Amos Tutuola, D. O. Fagunwa, Dennis Williams, Demas Nwoko, Uche Okeke, Frances Ademola and Janheinz Jahn, the ethnologist. The Mbari Club incooperated various activities as visual arts exhibitions, theatre, creative workshops and a publishing house.in which Okigbo eventually became an editor. It played a decisive role in the birth of modern African literature,. publishing not only the writings of its members and adherents but those of the South African writers Dennis Brutus and Alex La Guma. For the visual arts, it presented the pioneers, such as the painters Uche Okeke and Yusuf Grillo, the sculptor and painter Demas Nwoko, and the silk-screen artist, Bruce Onobrakpeya. The Mbari Club promoted the creation of a true movement of contemporary African artists, who were poised to generate a new artistic culture reconciling the continent’s cultural traditions and the technical language imposition.

Okigbo published his first poems in the student literary journal Horn, edited by J.P. Clark. though his works also appeared in the more significant literary magazine Black Orpheus. In the same year he also published as a pamphlet, Heavensgate, and a long poem in the Ugandan cultural magazine Transition, published in Kampala.. Okigbo’s early poems reflected the divided cultural heritage of his country, although it had influences from Virgil, Ovid, Eliot, and Pound which seem to be stronger than the oral literature of the Igbo.

He completed, and published the works of his mature years, including Limits (1964), Silences (1962-65), Lament of the Masks (commemorating the centenary of the birth of W. B. Yeats in the form of a Yoruba praise poem, 1964), “Dance of the Painted Maidens” (commemorating the 1964 birth of his daughter, Obiageli or Ibrahimat, whom he regarded as a reincarnation of his mother) and his final highly prophetic sequence, “Path of Thunder” (1965-67), which was published posthumously in 1971 with, Labyrinths, which incorporates the poems from the earlier collections.

The Biafran War

The 1960s was a period of great political upheavals in Nigeria with the country becoming an independent republic in 1963 and four years later the eastern Ibo tribal region attempting to secede.In 1966 the Nigerian crisis came to a head following the massacre of thousands of Igbo in the North. Okigbo, living in Ibadan at the time, relocated to eastern Nigeria to await the outcome of the turn of events which culminated in the secession of the predominantly Igbo eastern region which eventually declared itself as an independent Biafra republic on May 30, 1967. .

Although Okigbo followed the social and political events in his country keenly, his early poems moved on a personal and mythical level. Path of Thunder (1968) showed a new direction – its attack on bloodthirsty politicians (”POLITICIANS are back in giant hidden steps of howitzers, / of detonators”) and neocolonial exploitation (”THE ROBBERS descend on us to strip us our laughter, of our / thunder”) reflective of the rise of radical movements in the late 1960s.

At the outbreak of the war Okigbo was working for an Italian business organization, Wartrade. Living in Enugu, he worked together with Achebe to establish a new but small publishing house, Citadel Press. However, the events in his country made him change his plans, and abandon his job. He immediately joined the new state’s military as a volunteer, a field-commissioned major. He became accomplished as a soldier, but was killed in action in September 1967 during a major attack against Nsukka, the university town where he found his voice as a poet, and which he had vowed to defend with his life.refusing safer positions behind the frontline.. Posthumously, he was decorated with the National Order of Merit of Biafra. Earlier, in July, his hilltop house at Enugu, where several of his unpublished writings were was destroyed in a bombing. Also destroyed was Pointed Arches, a poetic autobiography which is as an account of the experiences of life and letters which conspired to sharpen his creative imagination.

Legacy

Several of his unpublished papers, however, survived the war. His daughter, Obiageli, d his literary heir, established the Christopher Okigbo Foundation in 2005 to perpetuate his legacy. The papers were catalogued in January 2006 by Chukwuma Azuonye, Professor of African Literature at the University of Massachusetts, Boston, who assisted the foundation in nominating them for the UNESCO Memory of the World Register. Azuonye’s preliminary studies of the papers indicate that, apart from new poems in English, including drafts of an Anthem for Biafra, Okigbo’s unpublished papers include poems written in Igbo. The latter are fascinating in opening up new vistas in the study of Okigbo’s poetry, countering the views of, especially Chinweizu, Onwuchekwa Jemie and Ihechukwu Madubuike , that he sacrificed his indigenous African sensibility in pursuit of an obscure euro-modernism.

“Elegy for Alto”, the final poem in Path of Thunder, is today widely read as the poet’s “last testament” embodying a prophecy of his own death as a sacrificial lamb for human freedom’

Earth, unbind me; let me be the prodigal; let this be

the ram’s ultimate prayer to the tether…

AN OLD STAR departs, leaves us here on the shore

Gazing heavenward for a new star approaching;

The new star appears, foreshadows its going

Before a going and coming that goes on forever….

The two collections of verse that appeared during Okigbo’s lifetime established him as an innovative and controversial poet.

Features of Okigbo’s poetry

His difficult but suggestive and prophetic poems show the influence of modernist European and American poetry, African tribal mythology, and Nigerian music and rhythms. “Prophetic, menacing, terrorist, violent, protesting – his poetry was all of these,” S.O. Anozie wrote in Christopher Okigbo: Creative Rhetoric (1972).

In “Distances” (1964) he celebrates his final aesthetic and psychic return to his indigenous religious roots:

I am the sole witness to my homecoming.

Okigbo’s poetry makes constant and repeated references to mother Idoto. the “water goddess” especially so in Heavensgate (1962) opening with the compelling lines:

Before you, mother Idoto,

naked I stand,

Such a reference seems central to the meaning of the poem. “Idoto” is in reality a river goddess, an essence in African cosmology which Okigbo in fact uses as a personal symbol, elevating it to a saviour thus emerging as a force representing the protection of indigenous cultures and religions from westernization. Heavensgate thus marked his return to the African part of his heritage and self-renewal through the goddess of the earth:

Before you, Mother Idoto, naked I stand before your watery presence a prodigal

leaning on an oilbean lost in your legend…

An invocation to the Idoto spirit essence opens the ritualistic pattern of the poem to which is added the oilbean, the tortoise, the python and the rainbow..This last one could perform prophetic role as Sunday Anozie suggests. It could also be seen as a snake capable of both leading and devouring the poet.

Other god-heads or prophetic essences could be seen in Okigbo’s poetry. In Limits viii the prophetic role is invested on an important symbol – the sunbird representing the mourning conscience of the poet as the cohesive spirit of the people is eventually desecrated by the imperialists. Here too totems of the ritualistic worship ‘A fleet of eagles,/over the oilbeam shadows/ ‘ ‘holding the square under curse of their breath’,’ a blind dog known for power of prophecy, howling’,’ the tortoise and the python who are classed as the twin-gods of the forest,’ ’shrinehouse bamboo towers’, ‘egg-shells, tiger mask and nude spear.,’dumb-bells’ and ‘oblong -headed lioness’ abound.

The two collections-Heavensgate (1962) and Limits (1964)-reveal a personal, introspective poetry informed by a familiarity with Western myths filled with rich, startling images. Labeled obscure by some critics, his poetry is demanding and allusive drawing as freely from modern poets, such as T. S. Eliot and Ezra Pound, as it does from the Roman Catholic religion of his family in Ojoto. Okigbo maintained that his poetry should be viewed as an organic whole as it expressed his coming of age as a poet.

Okigbo’s influences are not limited to Africa.going to Gerard Manley Hopkins as well as a mix of European, Asian, and African influences. He borrows from various sources like African religion as well as western religion. Romantic, pastoral and classical Greek and Latin influences like Vigil and Theocritus are much in evidence along with allusions to the Bible in Okigbo’s poetry.

His borrowings, as Dan Izevbaye notes, usually seem limited to the beauty and utility of the phrase itself.with the ‘meaning’ or ‘experience’ of the poem often controlled by its immediate context. When such borrowings or images are thrust into new collocations or associations, his poetry becomes startling and fresh. This might be imputed to the adaptation, summarization and conversion they undergo before being absorbed.

The main source of obscurity in Okigbo’s poetry is that references drawn from a private world through private symbols mainly through allusions to characters who were part of his childhood -oblongs such as Kepkanly, Enki, Flannagan, Haragin, Jadun, Upandru, Anna of the Panel and Eunice and obscure places like Rickland and rockpoint cable. Such references recur all too often. They might no doubt have very personal significance for the poet to have kept referring to them. But such significance is lost on the reader who is totally ignorant of their background.

A similar loss is suffered when the reader has no personal experience of such objects referred to as: ‘advent’, ‘dumb-bells’,'rockpoint of cable’, ‘Rockland’, ‘fucking angels’,'oblong-headed lioness’ and ‘a blind dog’ which all add up to the obscurity.

Since Okigbo is writing of complex and difficult subjects,his expression might of necessity be uncommon and hard to understand. This difficulty is compounded by his either knowingly or unwittingly creating a language of ritual to which the reader has to be initiated, thus fitting perfectly into the ritualistic contents of his work. This effect is reinforced by various aspects of his techniques inclusive of his use of language. Firstly there is the broken syntax and the use of various obscure words and unusual collocations such as ‘orangery solitude’, ‘broken monody’and ’square yields the moron’. The structure of the work itself adds to this effect by way of a kind of syncretic musical pattern worked towards through distribution of parts to traditional Ibo musical instruments. The incantatory and invocational qualities shown through the rhythmn of the lines is another, a good example of which is in “Elegy for slit-drum.”

In Okigbo’s world the modern and the traditional are thrust into a tense conflict with the profusion of images and symbols akin to western religion and civilization abounding with ‘John the Baptist’,'preaching the gambit’,'crucifix’,'pilgrims bound for shibboleth’ and ‘the censer.’ In some poems Christian rites are so fully developed that they become as dominant rites akin to traditional African religion. The omni-presence and destructive potentials of the western presence is seen through images like: ‘Thunder of tanks of giant ironsteps of detonation,”the distant seven cannons’, ‘cables of the open air’. And ‘magic birds with the miracle of lightning flash on their feathers’.

This conflict soars up to an explosive point as seen in the intensification and repetition of the thunder motif. The resulting debris is captured thus: ‘parliament has gone on leave’, ‘the cabinet has gone to hell’, ‘the voters are lying in wait’, and ‘the blare of sirened afternoons’. The confusion of values and chaotic state could be captured in no better way.

Thundering drums and cannons in palm grove: the spirit is in ascent. (from ‘Sacrifice’)

Often recurring images in Okigbo’s poems are dance (”dance of death”, “iron dance of mortars”), thunder (”thunder of tanks”, “the thunder among the clouds”), and sound of drums (”the drums of curfew”, “lament of the drums”). Gradually Okigbo started to see himself as a singer-musician, who speaks with the ancient, pre-literate language of drums: “I have fed out of the drum / I have drunk out of the cymbal…” In ‘Overture’ (1961) Okigbo was a “watchman for the watchword / at heavensgate” and in ‘Hurrah for Thunder’ a “town-crier, together with my iron bell”

Okigbo shared with T.S.Eliot a vision of a spiritual quest, taking the poet to the realm of ancient myths and to his spiritual self: “Before you, mother Idoto, naked I stand…” often using repetition, with the rhythm of the poetry becoming songlike, and the words flowing melodiously, as if the poet were listening and interpreting distant sounds. From the four elements Okigbo chooses water, the dwelling place of Idoto: “Under my feet float the waters: / tide blows them under.”.

Much of his poetry is of sound, meant to be read aloud (or even sung) — culminating in the Lament of the Drums, and then the Path of Thunder (which begins: “Fanfare of drums, wooden bells”). Again, the mix is both of African and outside influences. When he was working on Heavensgate, Okigbo himself states he was working under the spell of the impressionist composers Debussy, Caesar Franck, Ravel …

The sound and beat always convince; though the meaning can sometimes be obscure. Okigbo’s poetry is full of ellipses, with barely a poem not marked by sentences left to drop off in the three dots:

And there are here

the errors of the rendering …

The pieces of the poems are striking, often jarring. “Gods grow out / Abandoned” in Fragments out of the Deluge, a sequence that ends: “& the cancelling out is complete.”

The poems — cut up, divided, brief in their sections — impress from line to line. Lines are repeated and varied throughout several of the poem-sequences. In Lament of the Silent Sisters, for example, the question of: “How does one say NO in thunder” is central — and the thunder reappears elsewhere too. (The “NO in thunder” is a “dominant motif” in Lament of the Silent Sisters. Here Okigbo also suggests:

Silences are melodies

Heard in retrospect

The final sequence, Paths of Thunder, is a series of Poems prophesying War. and letting the conflict between art and life, and the charged political climate of the day, bubble over. This might be ironical predictions of Okigbo’s later abandoning art to serve the Biafran cause, dying in battle. It wasn’t his words that got him into trouble, but even in Paths of Thunder he makes a rare personal appearance, warning himself:

If I don’t learn to shut my mouth I’ll soon go to hell,

I, Okigbo, town-crier, together with my iron bell.

Okigbo’s poems seem to leap out even from the page.for his poetry did not allow stasis and he did not merely stick to one successful form and style. Though Okigbo sometimes overreaches himself or misses the mark even in those poems whose meaning might elude the reader he still maintains interest. Though with deceptively few words Okigbo offers sometimes daunting complexity, his poetry is certainly worth reading.In spite of his varied influences, he is endowed with a distinctive and interesting voice

Further Reading:

o Sunday Anozie, Christopher Okigbo: Creative Rhetoric. London: Evan Brothers Ltd., and New York: Holmes and Meier, Inc.,1972.

o Uzoma Esonwanne, ed. 2000. Critical Essays on Christopher Okigbo. New York: G. K. Hall & Co.

o Donatus Ibe Nwoga, Critical Perspectives on Christopher Okigbo, Three Continents Press, 1984.

oo Donatus Ibe Nwoga, Critical Perspectives on Christopher Okigbo, Three Continents Press, 1984.

o Dubem Okafor, Dance of Death: Nigerian History and Christopher Okigbo’s Poetry. Trenton, NJ and Asmara, Eritrea: African World Press, 1998.

o Udoeyop, Nyong J., Three Nigerian Poets: A Critical Study of the Poetry of Soyinka, Clark, and Okigbo. Ibadan: Ibadan University Press, 1973.

o James Wieland, The Ensphering Mind: History, Myth and Fictions in the Poetry of Allen Curnow, Nissim Ezekiel. A. D. Hope, A. M. Klein, Christopher Okigbo and Derek Walcott. Washington, DC: Three Continents Press, 1988.

Izevbaye Dan S. “The State of Criticism in African Literature”. African Literature Today. Ed. Eldred Durosimi Jones. Vol. 7. London: Heinemann, 1979. 1-19.

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Langston Hughes stands as a literary and cultural translation of the political resistance and campaign of black consciousness leaders such as Martin Luther King to restore the rights of the black citizenry thus fulfilling the ethos of the American dream, which is celebrated universally every year around February to April.

Hughes’ overriding sense of a social and cultural purpose tied to his sense of the past, the present and the future of black America commends his life and works as having much to learn from to inspire us to move forward and to inform and guide our steps as we move forward to create a great future.

Hughes is also significant since he seems to have conveniently spanned the genres: poetry, drama, novel and criticism leaving an indelible stamp on each. At 21 years of age he had published in all four (4) areas. For he always considered himself an artist in words who would venture into every single area of literary creativity, because there were readers for whom a story meant more than a poem or a song lyric meant more than a story and Hughes wanted to reach that individual and his kind.

But first and foremost, he considered himself a poet. He wanted to be a poet who could address himself to the concerns of his people in poems that could be read with no formal training or extensive literary background. In spite of this Hughes wrote and staged dozens of short stories, about a dozen books for children, a history of the National Association for the Advancement of Coloured Peoples (NAACP), two volumes of autobiography, opera libretti, song lyrics and so on. Hughes was driven by a sheer confidence in his versatility and in the power of his craft.

Hughes” commitment to Africa was real and concretized in both words and deeds. The fact of his Negro-ness (though light-complexioned) has aroused in him a desire to challenge those from the other side of the color line that reject it:

My old man’s a white old man

And my old mother’s black

My old ma died in a fine big house

My mad died in a shack

I wonder where I’m gonna die

Being neither white nor black?

His search for his roots was given impetus when in 1923 Hughes met and heard Marcus Garvey exhort Negroes to go back to Africa to escape the wrath of the white man. Hughes then became one of the poets who thought they felt the beating of the jungle tom-toms in the Negroes’ pulse. Their verse took on a nostalgic mood, and some even imagined that they were infusing the rhythms of African dancing and music into their verse like we could sense in the reading of this poem: ‘Danse Africaine’:

The low beating of the tom toms,

The slow beating of the tom toms,

Low …slow

Slow …low -

Stirs your blood.

Dance!

A night-veiled girl

Whirls softly into a

Circle of light.

Whirls softly …slowly,

Born in Joplin, Missouri in 1902, Hughes grew up in Lawrence, Kansas and Lincoln, Illinois, before going to high school in Cleveland, Ohio in of which places, he was part of a small community of blacks to whom he was nevertheless profoundly attached from early in his life. Though descending from a distinguished family his infancy was disrupted by the separation of his parents not long after his birth. His father then emigrated to Mexico where he hoped to gain the success that had eluded him in America. The color of his skin, he had hoped, would be less of a consideration in determining his future in Mexico. There, he broke new ground. He gained success in business and lived the rest of his life there as a prosperous attorney and landowner.

In contrast, Hughes’ mother lived the transitory life common for black mothers often leaving her son in the care of her mother while searching for a job.

His maternal grandmother, Mary Langston, whose first husband had died at Harpers Ferry as a member of John Brown’s band, and whose second husband (Hughes’s grandfather) had also been a militant abolitionist. instilled in Hughes a sense of dedication most of all. Hughes lived successively with family friends, then various relatives in Kansas.

Another important family figure was John Mercer Langston, a brother of Hughes’s grandfather who was one of the best-known black Americans of the nineteenth century.

Hughes later joined his mother even though she was now with his new stepfather in Cleveland, Ohio. At the same time, Hughes struggled with a sense of desolation fostered by parental neglect. He himself recalled being driven early by his loneliness ‘to books, and the wonderful world in books.’ He became disillusioned with his father’s materialistic values and contemptuous belief that blacks, Mexicans and Indians were lazy and ignorant.

At Central High School Hughes excelled academically and in sports. He wrote poetry and short fiction for the school’s literary magazine and edited the school year book. He returned to Mexico where he taught English briefly and wrote poems and prose pieces for publication in The Crisis the magazine of the NAACP.

Aided by his father, he arrived in New York in 1921 ostensibly to attend Columbia University but really it was to see Harlem. One of his greatest poems, “The Negro Speaks of Rivers” had just been published in The Crisis. His talent was immediately spotted though he only lasted one year at Columbia where he did well but never felt comfortable.

On campus, he was subjected to bigotry. He was assigned the worst dormitory room because of his color. Classes in English literature were all he could endure. Instead of attending classes which he found boring he would frequent shows, lectures and readings sponsored by the American Socialist Society. It was then that he was first introduced to the laughter and pain, hunger and heartache of blues music. It was the night life and culture that lured him out of college. Those sweet sad blues songs captured for him the intense pain and yearning that he saw around him, and that he incorporated into such poems as “The Weary Blues”.

To keep himself going as a poet and support his mother, Hughes served in turn as: a delivery boy for a florist; a vegetable farmer and a mess boy on a ship up the Hudson River. As part of a merchant steamer crew he sailed to Africa. He then traveled the same way to Europe, where he jumped Ship in Paris only to spend several months working in a night-club kitchen and then wandering off to Italy.

By 1924 his poetry which he had all along been working on showed the powerful influence of the blues and jazz. His poem “The Weary Blues” which best exemplifies this influence helped launch his career when it won first prize in the poetry section of the 1925 literary contest of Opportunity magazine and also won another literary prize in Crisis.

This landmark poem, the first of any poet to make use of that basic blues form is part of a volume of that same title whose entire collection reflects the frenzied atmosphere of Harlem nightlife. Most of its selections just as “The Weary Blues” approximate the phrasing and meter of blues music, a genre popularized in the early 1920s by rural and urban blacks. In it and such other pieces as “Jazzonia” Hughes evoked the frenzied hedonistic and glittering atmosphere of Harlem’s famous night-clubs. Poetry of social commentary such as “Mother to Son” show how hardened the blacks have to be to face the innumerable hurdles that they have to battle through in life.

Hughes’ earliest influences as a mature poet came interestingly from white poets. We have Walt Whitman the man who through his artistic violations of old conventions of poetry opened the boundaries of poetry to new forms like free verse. There is also the highly populist white German Émigré Carl Sandburg, who as Hughes’ ” guiding star,” was decisive in leading him toward free verse and a radically democratic modernist aesthetic

But black poets Paul Laurence Dunbar, a master of both dialect and standard verse, and Claude McKay, the black radical socialist an emigre from Jamaica who also wrote accomplished lyric poetry, stood for him as the embodiment of the cosmopolitan and yet racially confident and committed black poet Hughes hoped to be. He was also indebted to older black literary figures such as W.E.B. Dubois and James Weldon Johnson who admired his work and aided him. W.E.B. Dubois’ collection of Pan-Africanist essays Souls of Black Folks has markedly influenced many black writers like Hughes, Richard Wright and James Baldwin.

Such colour-affirmative images and sentiments as that in “people”: The night is beautiful,/So the faces of my people and in ‘Dream Variations: Night coming tenderly,/ Black like me. endeared his work to a wide range of African Americans, for whom he delighted in writing,.

Hughes had always shown his determination to experiment as a poet and not slavishly follow the tyranny of tight stanzaic forms and exact rhyme. He seemed, like Watt Whitman and Carl Sandburg, to prefer to write verse which captured the realities of American speech rather than “poetic diction”, and with his ear especially attuned to the varieties of black American speech.

“Weary Blues” combines these various elements the common speech of ordinary people, jazz and blues music and the traditional forms of poetry adapted to the African American and American subjects. In his adaptation of traditional poetic forms first to jazz then to blues sometimes using dialect but in a way radically different from earlier writers, Hughes was well served by his early experimentation with a loose form of rhyme that frequently gave way to an inventively rhythmic free verse:

Ma an ma baby

Got two mo’ ways,

Two mo’ ways to do de buck!

Even more radical experimentation with the blues form led to his next collection, Fine Clothes to the Jew. Perhaps his finest single book of verse, including several ballads, Fine Clothes was also his least favourably welcomed.

Several reviewers in black newspapers and magazines were distressed by Hughes’ fearless and, ‘tasteless’ evocation of elements of lower-class black culture, including its sometimes raw eroticism, never before treated in serious poetry.

Hughes expressing his determination to write about such people and to experiment with blues and jazz wrote in his essay “The Negro Artist and the Racial Mountain.” Published in the Nation in 1926

‘We younger artists…intend to express our individual dark-skinned selves Without fear or shame. If white people are pleased we are glad. If they Are not, it doesn’t matter. We know we are beautiful, And ugly too.’

Hughes expressed his determination to write fearlessly, shamelessly and unrepentantly about low-class black life and people inspite of opposition to that. He also exercised much freedom in experimenting with blues as well as jazz.

The tom-tom cries and the tom-tom laughs. If coloured people are pleased we are glad. If they are not their displeasure doesn’t matter either. We build our temples for tomorrow, strong as we know how and we stand on top of the mountains, free within ourselves.

With his espousal of such thoughts defending the freedom of the black writer Hughes became a beacon of light to younger writers who also wished to assert their right to explore and exploit allegedly degraded aspects of black people. He thus provided the movement with a manifesto by so skillfully arguing the need for both race pride and artistic independence in this his most memorable essay,

In 1926 Hughes returned to school in the historically black Lincoln University in Pennsylvania where he continued publishing poetry, short stories and essays in mainstream and black-oriented periodicals

In 1927 together with Zora Neal Hurston and other writers he founded Fire a literary journal devoted to African -American culture and aimed at destroying the older forms of black literature. The venture itself was short-lived. It was engulfed in fire along with its editorial offices.

Then a 70 – year old wealthy white patron entered his life. Charlotte Osgood Mason, who started directing virtually every aspect of Hughes’ life and art. Her passionate belief in parapsychology, intuition and folk culture was brought into supervising the writing of Hughes’ novel: Not Without Lauqhter in which his boyhood in Kansas is drawn to depict the life of a sensitive black child, Sandy, growing up in a representative, middle-class.mid-western African-American home.

Hughes’ relationship with Mason came to an explosive end in 1930. Hurt and baffled by Mason’s rejection, Hughes used money from a prize to spend several weeks recovering in Haiti. From the intense personal unhappiness and depression into which the break had sunk him.

Back in the U.S., Hughes made a sharp turn to the political left. His verses and essays were now being published in New Masses, a journal controlled by the Communist Party. Later that year he began touring.

The renaissance which was long over was replaced for Hughes by a sense of the need for political struggle and for an art that reflected this radical approach. But his career, unlike others then, easily survived the end of that movement. He kept on producing his art in keeping with his sense of himself as a thoroughly professional writer. He then published his first collections, the often acerbic and even embittered The Ways of White Folks.

Hughes’ main concern was now, the theatre. Mulatto, his drama of race-mixing and the South was the longest running play by an African American on Broadway until Lorraine Hansberry’s A Raisin in the Sun appeared in the 1960’s. His dramas – comedies and ramas of domestic black American life, largely – were also popular with black audiences. Using such innovations as theatre-in-the-round and invoking audience participation, Hughes anticipated the work of later avant-garde dramatists like Amiri Baraka and Sonia Sanchez. In his drama Hughes combines urban dialogue, folk idioms, and a thematic emphasis on the dignity and strength of black Americans.

Hughes wrote other plays, including comedies such as Little Ham (1936) and a historical drama, Emperor of Haiti (1936) most of which were only moderate successes. In 1937 he spent several months in Europe, including a long stay in besieged Madrid. In 1938 he returned home to found the Harlem Suitcase Theater, which staged his agitprop drama Don’t You Want to Be Free? employing several of his poems, vigorously blended black nationalism, the blues, and socialist exhortation. The same year, a socialist organization published a pamphlet of his radical verse, “A New Song.”

With the start of World War II, Hughes returned to the political centre. The Big Sea, his first volume of his autobiography work with its memorable portrait of the renaissance and his African voyages written in an episodic, lightly comic style with virtually no mention of his leftist sympathies appeared.

In his book of verse Shakespeare in Harlem (1942) he once again sang the blues. On the other hand, this collection, as well as another, his Jim Crow’s Last Stand (1943), strongly attacked racial segregation.

In poetry, he revived his interest in some of his old themes and forms, as in Shakespeare in Harlem (1942).the South and West, taking poetry to the people. He read his poems in churches and in schools. He then sailed from New York for the Soviet Union. He was amongst a band of young African-Americans invited to take part in a film about American race relations.

This filmmaking venture, though unsuccessful, proved instrumental to enhancing his short story writing. For whilst in Moscow he was struck by the similarities between D. H. Lawrence’s character in a title story from his collection The Lovely Lady and Mrs Osgood Mason. Overwhelmed by the power of Lawrence’s stories, Hughes began writing short fiction of his. On his return to the U. S.. by 1933 he had sold three stories and had begun compiling his first collection.

Perhaps his finest literary achievement during the war came in writing a weekly column in the Chicago Defender from 1942 to 1952. the highlight of which was an offbeat Harlem character called Jesse B. Semple, or Simple, and his exchanges with a staid narrator in a neighborhood bar, where Simple commented on a variety of matters but mainly about race and racism. Simple became Hughes’s most celebrated and beloved fictional creation. and one of the freshest, most fascinating and enduring Negro characters in American fiction Jesse B Simple, is a Harlem Everyman, whose comic manner hardly obscured some of the serious themes raised by Hughes in relating Simple’s exploits in the quintessential “wise-fool’ whose experience and uneducated insights capture the frustrations of being black in America.. His honest and unsophisticated eye sees through the shallowness, hypocrisy and phoniness of white and black Americans alike. From his stool at Paddy’s Bar, in a delightful brand of English, Simple comments both wisely and hilariously on many things but principally on race and women.

His bebop-shaped poem Montage of a Dream Deferred (1991) projects a changing Harlem, fertile with humanity but in decline. In it, the drastically deteriorated state of Harlem in the 1950s is contrasted to the Harlem of the 20s. The exuberance of night-club life and the vitality of cultural renaissance has now gone. An urban ghetto plagued by poverty and crime has taken its place. A change in rhythm parallels the change in tone. The smooth patterns and gentle melancholy of blues music are replaced by the abrupt, fragmented structure of post-war jazz and bebop. Hughes was alert to what was happening in the African-American world and what was coming. This is why this volume of verse reflected so much the new and relatively new be-bop jazz rhythms that emphasized dissonance They thus reflected the new pressures that were straining the black communities in the cities of the North.

Hughes’ living much of his life in basements and attics brought much realism and humanity to his writing especially his short stories. He thus remained close to his vast public as he kept moving figuratively through the basements of the world where his life is thickest and where common people struggle to make their way. At the same time, writing in attics, he rose to the long perspective that enabled him to radiate a humanizing, beautifying, but still truthful light on what he saw.

Hughes’ short stories reflect his entire purpose as a writer. For his art was aimed at interpreting “the beauty of his own people,” which he felt they were taught either not to see or not to take pride in. In all his stories, his humanity, his faithful and artistic presentations of both racial and national truth – his successful mediation between the beauties and the terrors of life around him all shine out. Certain themes, technical excellencies or social insights loom out.

“Slave in the Block” for example, a simple but vivid tale reveals the lack of respect and even human communication, between Negroes and those patronizing and cosmetic whites.

Hughes also took time to write for children producing the successful Popo and Fifina (1932), a tale set in Haiti with Arna Bontemps. He eventually published a dozen children’s books, on subjects such as jazz, Africa, and the West Indies. Proud of his versatility, he also wrote a commissioned history of the NAACP and the text of a much praised pictorial history of black America The Sweet Flypaper of Life (1955), where he explicated photographs of Harlem by Roy DeCarava, which was judged masterful by reviewers, and confirmed Hughes’s reputation for an unrivaled command of the nuances of black urban culture.

Hughes’s suffered constant harassment about his ties to the Left. In vain he protested he had never been a Communist having severed all such links. In 1953 he was subjected to public humiliation at the hands of Senator Joseph McCarthy, when he was forced to appear in Washington, D.C., and testify officially about his politics. Hughes denied that he had ever been a communist but conceded that some of his radical verse had been ill-advised.

Hughes’s career hardly suffered from this. Within a short time McCarthy himself was discredited. Hughes now wrote at length in I Wonder as I Wander (1956), his much-admired second volume of autobiography. about his years in the Soviet Union. He became prosperous, although he always had to work hard for his measure of prosperity. In the 1950s he turned to the musical stage for success, as he sought to repeat his major success of the 1940s, when Kurt Weill and Elmer Rice had chosen him as the lyricist for their Street Scene (1947). This production was hailed as a breakthrough in the development of American opera; for Hughes, the apparently endless cycle of poverty into which he had been locked came to an end. He bought a home in Harlem.

By the end of his life Hughes was almost universally recognized as the most representative writer in the history of African American literature and also as probably the most original of all black American poets. He thus became the widely acknowledged “Poet Laureate” of the Negro Race!

According to Arnold Rampersad, an authority on Hughes:

Much of his work celebrated the beauty and dignity and Humanity of black Americans. Unlike other writers Hughes basked in the glow of the obviously high regard of his primary audience, African Americans. His poetry, with its original jazz and blues influence and its powerful democratic commitment, is almost certainly the most influential written by any person of African descent in this century. Certain of his poems; “Mother to Son” are virtual anthems of black American life and aspiration. His plays alone… could secure him a place in AfroAmerican literary history. His character Simple is the most memorable single figure to emerge from black journalism. ‘The Negro Artist and the Racial Mountain’ is timeless, “it seems as a statement of constant dilemma facing the young black artist, caught between the contending forces of black and white culture’

Liberated by the examples of Carl Sandburg’s free verse Hughes’ poetry has always aimed for utter directness and simplicity. In this regard, is the notion that he almost never revised his work seeming like romantic poets who believe and demonstrate that poetry is a ’spontaneous overflow of emotions”.

Like Walt Whitman, Hughes’s great poetic forefather in America’s poetry…, Hughes did believe in the poetry of Emotion, in the power of ideas and feelings that went beyond matters of technical crafts. Hughes never wanted to be a writer who carefully sculpted rhyme and stanzas and in so doing lost the emotional heart of what he had set out to say.

His poems imbued with the distinctive diction and cadences of Negro idioms in simple stanza patterns and strict rhyme schemes derived from blues songs enabled him to capture the ambience of the setting as well as the rhythms of jazz music.

He wrote mostly in two modes/directions:

(i) lyrics about black life using rhythms and refrains from jazz and

blues.

(ii) Poems of racial protest

exploring the boundaries between black and white America. thus contributing to the strengthening of black consciousness and racial pride than even the Harlem Renaissance’s legacy for its most militant decades. While never militantly repudiating co-operation with the white community, the poems which protest against white racism are boldly direct.

In “The Negro Speaks of Rivers” the simple direct and free verse makes clear that Africa’s dusky rivers run concurrently with the poet’s soul as he draws spiritual strength as well as individual identity from the collective experience of his ancestors. The poem is according to Rampersad “reminding us that the syncopated beat which the captive Africans brought with them “that found its first expression here in “the hand clapping, feet stamping, drum-beating rhythms of the human heart (4 – 5), is as ‘ancient as the world.”

But what Hughes is better known for is his treatment of the possibilities of African-American experiences and identities. Like Walt Whitman, he created a persona that speaks for more than himself. His voice in “I too” for instance absorbs the depiction of a whole race into his central consciousness as he laments:

I, too, sing America

I am the darker brother.

I, too, am America.

The “darker brother” celebrating America is certain of a better future when he will no longer be shunted aside by “company”. The poem is characteristic of Hughes’s faith in the racial consciousness of African Americans, a consciousness that reflects their integrity and beauty while simultaneously demanding respect and acceptance from others as especially when: Nobody ‘/I dare Say to me, Eat in the kitchen.

This dogged resistance and optimism in facing adversity is what Hughes’ life centred on.thus enabling him to survive and achieve in spite of the obstacles facing him. as Rampersad affirms:.

‘Toughness was a major characteristic of Hughes’ life. For his life was hard. He certainly knew poverty and humiliation at the hands of people with far more power and money than he had and little respect for writers, especially poets. Through all his poverty and hurt, Hughes kept on a steady keel. He was a gentleman, a soft man in many ways, who was sympathetic and affectionate, but was tough to the core.

Hughes’s poetry reveals his hearty appetite for all humanity, his insistence on justice for all, and his faith in the transcendent possibilities of joy and hope that make room as he aspires in ‘I too’, for everyone at America’s table.

This deep love for all humanity is echoed in one of his poems: ‘My People” some lines of which were earlier referred to:

The night is beautiful,

so the faces of my people,

the stars are beautiful,

so the eyes of my people

Beautiful, also, is the sun

Beautiful also, are the souls of my people

Arnold Rampersad’s last word on Hughes’s humanity, is anchored on three essential attributes: his tenderness; generosity and his sense of humour.

Hughes was also tender. He was a man who lovse other people and was beloved. It was very hard to find anyone who had known him who would say a harsh thing about him. People who knew him could remember little that wasn’t pleasant of him. Evidently, he radiated joy and humanity and this was how he was remembered after his death.

He loved the company of people. He needed to have people around him. He needed them perhaps to counter the essential loneliness instilled in his soul from early in his life and out of which he made his literary art.

Hughes was a man of great generosity. He was generous to the young and the poor, the needy; he was generous even to his rivals. He was generous to a fault, giving to those who did not always deserve his kindness. But he was prepared to risk ingratitude in order to help younger artists in particular and young people in general.

Hughes was a man of laughter, although his laughter almost always came in the presence of tears or the threat of the surge of tears. The titles of his first novel Not Without Laughter and a collection of stories Laughing to Keep from Crying. indicate this. This was essentially how he believed life must be faced – with the knowledge of its inescapable loneliness and pain but with an awareness, too, of the therapy of laughter by which we assert the human in the face of circumstances. We must reach out to people, and one should not only have an astounding tolerance of life’s sufferings but should also exuberantly complete the happy aspect of life.

His sense of humour is again credited by a writer from Africa who was like Hughes also faced with fighting racial discrimination and deprivation, Ezekiel Mphahlele.

Here is a man with a boundless zest for life… He has an irrepressible sense of humour, and to meet him is to come face to face with the essence of human goodness. In spite of his literary success, he has earned himself the respect of young Negro writers, who never find him unwilling to help them along. And yet he is not condescending. Unlike most Negroes who become famous or prosperous and move to high-class residential areas, he has continued to live in Harlem, which is in sense a Negro ghetto, in a house which he purchased with money earned as lyricist for the Broadway musical Street Scene.

In explaining and illustrating the Negro condition in America as was his stated vocation, Hughes captured their joys, and the veiled weariness of their lives, the monotony of their jobs, and the veiled weariness of their songs. He accomplished this in poems remarkable not only for their directness and simplicity but for their economy, lucidity and wit. Whether he was writing poems of racial protest like “Harlem” and “Ballad of the Landlord” or poems of racial affirmation like’ Mother to Son’ and ‘The Negro Speaks of Rivers,’ Hughes was able to find language and forms to express not only the pain of urban life but also its splendid vitality.

Further Reading:

Gates, Henry, Louis and Mc Kay Nellie, Y. (Gen. Ed) The Norton

Anthology of African American Literature, N.W. Norton & Co; New York & London 1997

Hughes, Langston, “The Negro Artist and the Racial Mountain” 1926. Rpt

in Nathan Huggins ed. Voices from the Harlem Renaissance Oxford

University Press, New York, 1976

Mphahlele, Ezekiel, “Langston Hughes,” in Introduction to African

Literature (ed) Ulli Beier, Longman, London 1967

Rampersad, Arnold, The life of Langston Hughes Vol. 1 & 11 Oxford

University Press, N. York, 1986

Trotman, James, (ed), Langston Hughes: The Man, His Art and His

Continuing Influence Garland Publishing Inc. N.

York & London 1995

Black Literature Criticism

The Oxford Companion to African American Literature., Oxford University Press,.1997

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Ekwensi one of the most prolific writers in Africa, late last year, died and was buried earlier this year managed a lively writing activities throughout his life, publishing a collection of short stories, COD, his last works of fiction and completing work on his memoirs, titled with "In My Time for several years until his death. With over twenty novels, short stories and novels, his name, work Ekwensi thematic equally involved in the Nigerian Civil Warthe perspective of a journalist and lives in a pastoral Fulani of northern Nigeria.

Ekwensi the work was first published novel, When Love Whispers, published in 1948, ten years before the great African novel, Achebe's Things Fall Apart was published in London. It is with sadness for the failed attempt, a young woman whose father has insisted it is a wedding, inspired to write to the judge. This short novel light were part of what was known as theOnitsha pulp fiction for schools, and its success inspired the Ekwensi continue in this way.

Ekwensi had written for himself, through a series of stories he had for the show on the radio. This followed a whole, within ten days, while realizing published on its way to Chelsea School of Pharmacy in London, his first novel, The people of the city, Nigeria, the main daily newspaper, the Daily Times, in its first rate published book form in 1954. butwhich was not published in the United States until 15 years later. People of the City (1954) was published the first modern Western novel of English language in England. E 'publication, which highlighted an important development in African literature Ekwensi one of the first African writers get exposure both in the West and, finally, for the most prolific African writers.

The fact that Cyprian Ekwensi began his writing career as a pamphleteer in the reflectionepisodic nature of the city's population (1954), a collection of stories linked together, but it reads like a novel in which he is a living portrait of the hectic life of a Western city, Lagos. The people of the city, coming into the consciousness of a young political reporter and a leader of an emerging African country is plagued with its detail about the problems of corruption and arbitrariness of these were filled says. In him and some others, has examined Ekwensithe bait, emotions and challenges of urban life, and the extreme freedom of movement and impersonal relations permeates the lives of immigrants in the city, where a close bond, as a rule, favored by the extended family system of their traditional societies, A careful review of the different lifestyles, the full expression of the city.

Loud, Bernth Lindfors, none of the numerous works Ekwensi is completely free from blemishes and errors amateurish. Lindfors concludes thatHe could not name all "the work of a careful, skilled craftsmen." According to his account of moral responsibility in the life of the city, Bernth Lindfors, argues that "because of his sinful heroines are usually bad finish can Ekwensi as a serious moralist, whose novels offer lessons in virtue, the tragic consequences of vice seen. But it seems as if it were always more interested in the habit of virtue, and that aims to titillate and to teach. "While this view maycan be disputed, it is undeniable that he had always tried to reach her audience into immediate and intimate style. Actually, is that clung to these issues, allowed him to keep the mass audience that much-coveted

In an interview in 1972 by Lewis Nkosi, Ekwensi define its role as a writer, said: "I think I'm a writer, who describes himself as a writer for the masses. I think of myself as a designer: when the My style is just incidental, but I'm moreconcerned, in the heart of truth, which can recognize the man in the street not only words of spinning. "

Ernest Emenyonu, a Nigerian critic known for his sympathy towards taxes Ekwensi Ekwensi is never "been properly evaluated as a writer."

Another sympathetic critic, describes the long American convert to the study of African literature, Charles Larson, he as one of the most prolific African writers of the twentieth century. According to Larson,Ekwensi "is probably the most widely read in Nigeria – perhaps even in Western Africa – from readers, whose literary tastes were not exposed to the writings of Chinua Achebe more complex and other African writers more qualified."

Kole Omoto former president of the Association of Nigerian Authors and theater professor at the University of Ibadan has confessed to a passion for everything with him after reading his novel The Yaba About the murder as a child because, as he confesses that the taughtthe importance of space to write novels. Omoto goes on to state that writes Ekwensi is very important for the Nigerian, because he believed in himself and "we believe in ourselves." Pan-Africanist tendency of his writings and his publications are mainly in Nigeria commendable. If many other African writers in exile himself, decided to stay home rather than live abroad, where opportunities for publication are abundant.

While some researchersDiscount Ekwensi novels, have revised their other social realism. Charles R. Larson has presented his work in historical perspective: "Local Color" is its strength, whether it Ekwensi the city of chaos, Lagos, Onitsha, or … Nigeria and the reader is the first time in a perspective that has already unresearched in African fiction. "

Entering Ekwensi work firmly in the vernacular, said Douglas Killam their meaning, "popular fiction is always important becauseCurrent popular interest and morality. Work Ekwensi will be honored (if not registered as art) through its serious concern about the moral issues which inform the contemporary life in Nigeria. As such, will always be relevant in the history of Nigerian literature and tradition of Nigeria. "

Ekwensi onugbu told stories of how well cooked (bitter leaf soup), leaving a pleasant taste on the palate after a meal. Through his works Ekwensi told us that a work of fiction does not deserve this honorNames except at first sight-…- stop the reader as a cop handcuffs ….. I have read many books Ekwensi, and with the exception of "The Drummer Boy", which had proposed a text when I was in Junior Secondary School, Plateau State, the other to read, because they are who needs a book-hungry soul food . Who can be started in the cult of forgetfulness Ekwensi, revenge-driven Mallam Iliya who adored sokugo interested SunSay May, the rock Amuse Sango, the raunchyBelle, Jagua Nana (who can not do that, as women if not in fiction, television, and probably in real life) and the harrowing and heroic Ngozi Pedro? They are my friends for life.

Ekwensi has created much more "thriller airport. He told great stories that live in the hearts of everyone you meet. (Henry Chukwuemeka Onyeama a Lagos-based writer and teacher)

An Ibo, as Chinua Achebe, Ekwensi was in 1921 in Minna, Niger State, born inNorthern Nigeria, but attended high school in a predominantly Yoruba, Ibadan. He is very familiar with the many large ethnic groups in his country, and therefore is familiar with in his novels are often used. And then went to Yaba Higher College, Ibadan and then went to Achimota College in Ghana, where he studied forestry. For two years he worked as an official of the forestry science and then taught for a short period of time. Then he entered the School of Pharmacy in Lagos.Later, he sat down at the University of London (Chelsea School of Pharmacy), during the period he wrote his first novel, her first book-length publication Ikola The Wrestler The Ibo and others (1947), published in London. His writings earned him a place in the national media, where it is up to the head of the functions of the Nigerian Broadcasting Service and eventually served as director.

Several events have contributed childhood Ekwensi then in his writings. Even if an ethnicallyIgbo, Hausa, was one of the playmates and schoolmates, both tribal languages increased. He also learned of his heritage through the many stories and legends, Igbo, his father told him what he later published in the collection Ikola The Wrestler and Other Tales Ibo. In 1936, Ekwensi members in southern Nigeria as secondary Government College, Ibadan, knows where he learned the Yoruba culture, as well as outstanding in English, mathematics, science and sport. Lesseeverything he could get his hands in the school library to focus on H. Rider Haggard, Charles Dickens, Jane Austen, Walter Scott and Alexandre Dumas. He has written numerous articles and stories of school publications, particularly the Viking Magazine.

Launched last part of his job as an officer of the forest Ekwensi nostalgia for the city. Thus began in 1947, he taught English, biology and chemistry at Igbobi College, near Lagos. For his lessons, read the manuscriptsChildren's books, Drummer Boy, Passport of Mallam Ilia Trouble in six, and stories. Finally, after decades of supplementing his writing career, working in radio and not others, public relations, there Ekwensi day his work in 1984 to pursue writing full time. He returned to writing novels for adults, choosing from his personal "archive" of manuscripts written before much of which has been reviewing novels, Jagua Nana's daughter, Motherless Baby, For aParchment and Divided We Stand, which were published in 1980. For example, in a roll of parchment, said his trip to England from Nigeria when he was in "People of the City. It must be updated to present his material, but after the second world war, Nigeria was Faster with his life.

Sex, violence, intrigue and mystery in a contemporary setting was more evident in fast-melting pot of the city on the agenda in the works Ekwensi power, especially with regard Jagua Nana, invery secular and very attractive forty-five years, the Nigerian woman with multiple candidates in love with a young teacher, Freddie. Decided to send him to practice law in England on the understanding of their marriage, studying for his return. All this beautiful and charming prostitute Ekwensi sets in motion a series of residence, are adrift amoral characters who take the pleasures of rural origins to the dazzling city.

And the novel itself shows us theshady dark world of the big city, Lagos, where favorite place Jagua, the Tropicana Bar, sets the scene for much of the story.

Finally, in late 1950, the Onitsha market, "literary" mafia open game production and marketing, a semi-nude photo of a buxom beauty Igbo adolescents, with the cheeky title "Lee Beateam mee" – I can, hit me!

These were the modest days of high moral values in Igboland and indeed Nigeria, Elizabethan manner, armed with cane primaryTeachers and principals. The offending picture on the right hit the back of the public who still rushed to buy copies. Men who have their noses in the images published copies, have secretly bought, seen and enjoyed. And .. School children were rescued himself with WORK jobs for the parents, and have earned up to the value of a shilling, the image that used to buy and then usually put it away in-between the pound, away from prying eyes their parents orClassroom, where the treasure might curious looks from time to time the question sneeked risk of the owner, even in the middle of a lesson. Known for churning almanacs, with photos of famous and conducting events, folk art, and literature as the Ogalia A. Ugal, creator of the legendary "Veronica my daughter knew the Mafia, where to draw the border. Gender, however, sold each day and the age and the Mafia knew. But what no one would even remotely be identifiedpornography. "Lee was Beateam mee" since dare time, the mother of all.

It 'was in this context that Ekwensi took the Nigerian literary scene by storm with the release of the vernacular Jagua Nana. Ekwensi's most widely read novel, Jagua Nana, we published in 1961, was centered around the local people of the city, but with a stronger social cohesion of the land on Jagua, a courtesan, a love of expensive, which is reflected in their same name, which was damaging theexpensive cars British Jaguars. His personal life, the conflict between tradition and modernity in urban Africa. Although previously Ekwensi the direction of his work with the publication in 1954, the city's population has been shown, was Jagua (the protagonist) in this novel, which legend Ekwensi built and has taken a life of its own, a sort of folk hero. Jagua dared the audience. Ekwensi the artist, also had the magic of collecting the names of his characters,were instant hits. They stuck like glue in the minds of readers and helped to animate the fictitious personality. Bold, challenging, imaginative, and realized with unusual technical finesse, Jaguar Nana fully furnished Ekwensi as a reporter last in the Nigerian city life.

Published in 1961, the novel, Jagua Nana, tells the story of an aging prostitute named Jagua, which tries to offer himself for security in later life through their relationship with a younger man. But while the youngthe man is studying law in England, goes Jagua in various activities, some doubts, some not. Jagua Nana, witnessed some improvements in the quality and control of the assets obtained in contrast to what people in the city, a chronicle of the adventures of an aging sex workers in Lagos, with her charity work and way of life expensive , but ends in sadness and disappointment.

Ekwensi attempt to dust it later and taken to a form of happiness and contentment leads to searchReason in his work, which is fully manifest in sequence Jagua Nana's Daughter (1987), Jagua, where it was after a long search, with its educated, higher social daughter, who was once also its fair share of the dissolute life. Both daughter and mother were taken at the same time looking for mutual satisfaction and healing in the application until they met by chance. Eventually, after suffering Ekwensi enough to have their fortunes allow.

As was to be differentother novels, Ekwensi's moralizing is clear, and the reform is for some characters are possible. For example, in the next novel Iska Ekwensi Ibo portrays a young widow, Filia, he moved to Lagos, after the death of her husband. They are trying to live a decent life. While she tries to get an education and job responsibility, encounters many obstacles, show Ekwensi giving readers a wide range of city dwellers too. But this novel, published by a European press, could not competePopularity with his predecessor, Jagua Nana, the controversy for its representation of cases open sexuality. When an Italian film company wanted the film Jagua Nana, the Nigerian government to ensure that these efforts fear negative media representations of the country.

Talk about what inspired him to write in a job interview, Ekwensi said I was a student of Pharmacy at the Yaba Higher College in those days and I lived in the same connection with a young man who was very romantic. HeNever leave your night club for everything. We had a nightclub then known as the Rex Club in the late Rewane – Rewanes the two are now dead, among other things, and one of them was the Government College, Ibadan, while the other was a politician.

Now many years later, I was asked to make plans for the British Broadcasting Corporation (BBC) on the night life, and I discovered that I had so much material on this subject that I could really build an entire book. This wasInspiration.

Another of his novels is the grass that burns (1961), a collection of vignettes provide insight into the life of a pastoral Fulani herdsmen families in northern Nigeria .. The novel and the characters are actually based on a real family, with whom Ekwensi had lived before. In fact, according to the study of forestry at the Yaba Higher College in Lagos during the Second World War Ekwensi began two years as an officer in the forestry sector, who are familiar with the forest reserves, of which hefeature is enabled, these stories of adventure in rural areas, like the grass that burns Leave ..

"It was in these days in the woods, I was able to resurrect and write. That when I started really writing for publication," said Nkosi. The several months spent with the nomadic Fulani, then became the theme Grass.where Burning The Adventures of a Wanderlust Sokugo May SunSay that follows, and his family who tried to save. Although his characters to see through the various adventuresEkwensi describes the life of the Fulani herdsmen. These early works, when it became one of his novels "serious", by Heinemann Educational Publishers in 1998 and relaunched

Two novellas for children followed in 1960 by merging both the drummer and the passport of Mallam Ilia, the exercises were the traditional themes with undisguised romanticism.

Between 1961 and 1966 Ekwensi published at least one major work every year. The most important of these were the novels,Beautiful Feathers (1963) and Iska (1966) and two collections of short stories, Rainmaker (1965) and Lokotown (1966).

Beautiful Feathers (1963) reflected the nationalist and pan-Africanist consciousness of time before the Independence Day of 1950 and as the young hero leads a youthful commitment to his ideals for the disintegration of his family, and thus underlines the proverb alludes in the title: "But the famous man is out there, if not at home, is like a well-respectedBird feathers beautiful, beautiful outside, but in the course of normal. "

From 1967 to 1969 during the Nigerian civil war, when the eastern part of Nigeria attempted secession Ekwensi served as information officer of the government of this experience, which he used to write in 1976, picaresque novel Survive peace. realistic picture, combining the activities of a radio journalist in the aftermath of civil war in Biafra.who in its efforts to take his family to violence,The destruction, refugees and the relief that this creates chaos. Through flashbacks, Ekwensi also shows the war itself post-mortem at the recently concluded that asks the problems of survival in the so-called peace. Seems for example for the pathetic fate of James Odugo, the radio journalist who survived the war only the descent, cut off from marauding ex-soldiers.

In these early works, such as collections Ikola The Wrestler and Other Tales Ibo, and an AfricanNight's Entertainment, the grass burning novel, and the juvenile justice work The Leopard's Claw and Juju Rock, Ekwensi told stories in a rural setting.

Ekwensi continue running through 1960, and in his later works, the new Divided We Stand (1980), which ridiculed the Nigerian civil war, the novella Motherless Baby (1980) and The Restless City and Christmas d 'oro (1975) are behind the wall of the convent (1987) and Mecca (1991) Gone.

Ekwensi also published a series of worksas for children.such Ikola The Wrestler Ibo and Other Tales (1947) and The Leopard's Claw (1950). In 1960 he wrote an Entertainment African Night (1962), The Great Elephant-Bird (1965) and Trouble in the form of six (1966). Over time Ekwensi produced other books, especially for children who may have been, but was not internationally recognized, however, and were known throughout Nigeria and Africa to read. These Rainmaker (1965), Iska (including 1966), Coal Camp Boy (1971) in Samankweweird forest (1973), Motherless Baby (1980), The Restless City and Christmas Gold (1975), Samankwe and the bandit (1975), Behind the wall of the convent (1987), Gone to Mecca (1991), Masquerade Time ! (1992), and King Forever! (1992). In 2006 he completed work on two other books, "Brown Tortoise and the Monkey", a short story and "Another freedom.

Fortunately Ekwensi writes, has published several titles, such as "When Love Whispers, Divided We Stand, Jagua Nana and DaughterKing forever! All previous works are related.

When Love Whispers like Jagua Nana revolves around a very attractive woman, with more candidates. But while she thinks looks the love of his life, his father, won who marry at an older man in an arranged marriage.

Divided We Stand (1980) was written in the heat of the war in Biafra in itself, but later released. Inverts the wisdom of giving a strong consensus that show how to bring ethnicity, division and hatredMistrust, and war.

Jagua Nana's Daughter (1986), revolves around the daughter of Jagua Research traumatic for the mother took her to find not only the mother, but as a partner. She is able to marry a highly professional site that, unlike her mother, is a professional, as well. Vince security and protection they desire.

King forever! (1992), a satire on the will of African leaders, to perpetuate themselves in power. Sinanda's RoseElectricity from a modest background does not prevent the ambition of his recovery time at where he is now aspiring to divinity

Write In the following decades Ekwensi began, the audience has changed in Nigeria. Unlike the days of the Onitsha market fiction when books were printed and sold at low cost in the cost of general taste at the turn of the millennium, some publishers to adapt the selection of books published controlled, and the prices of books are often made outside the books flowMasses, particularly in schools and libraries, the non-fiction and educational materials to meet limited. With different forms of media, to enjoy growing popularity, the incentive is decreased to read. With fewer people read for pleasure, are novels, asking little. In these circumstances, suffer a creative writer. From this disadvantage, "said Larson Ekwensi prosper," the journalists here, but creative writers get diverted and the creativity of them will be washed when to take the bread andButter home. "

In a public lecture in 2000 by Kole Ade-Odutola in Africa News, the elderly, but still alive Ekwensi has expressed his desire to "build and nurture young minds in citing the customs and traditions of their communities," through its writings. He said: "African writers of the twentieth century has inherited the oral literature of our ancestors, and on the basis that, inserted in the middle phase of their fiction, the values that we as Africans had lived for centuries. E 'these values that we, Africans, that we – the distinction between good and evil, justice and injustice, oppression and freedom. "In line with the times, began to publish his writings on the Internet. Despite the vagaries of the African world publication, at the age of 80 Ekwensi was still pursuing its objective, because, as he wrote in his essay for The Essential Ekwensi 15 years, "The satisfaction can be gained from writing, I neverquantified. "

References

Beier, Ulli ed., Introduction to African Literature (1967);

Breitinger, Eckhard, "the literature for younger readers and education in multicultural contexts", in language and literature in multicultural contexts, edited by Satendra Nandan, Uinveristy South Pacific, 1983.

·, Volume 117: Caribbean and Black African Writers, Gale, 1992. Dictionary of Literary Biography

Dathorne, or the Black Mind A History of AfricanLiterature. Minneapolis: University of Minnesota Press, 1974.

Emenyonu, Ernest, Cyprian Ekwensi. Evans Brothers, 1974.

Emenyonu, Ernest, editor. The Essential Ekwensi. Heinemann Educational Books, 1987.

Larson, Charles R., The Emergence of African Fiction. Indiana University Press, 1971

Larson, Charles R. torture of African writers. London: Zed Books, 2001.

Lindfors, Bernth, 'satirical Nigerian ALT5

Laurence. Margaret Long Drums and guns:Nigerian playwright and novelist, 1952-1966 (1968).

Mphahlele, Ezekiel

Palmer, Eustace. The growth of the African novel. Study of African literature. London: Heinemann, 1979.

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