Choice of Straws by ER Braithwaite. London’s East End 1960. Twins Jack and Dave Bennett are a happy-go-lucky, rootless pair of Teddy boys. If they do occasionally rough-up a black guy it’s just a game to them. Until a victim in Whitechapel fights back and Dave pulls a knife. From the writer of To Sir With Love.
Mr Spencer….. Alex Lanipekun
Dramatised by Roy Williams
Director Claire Grove
About the Play
Edward Ricardo Braithwaite is best known as the author of To Sir, With Love, the 1959 novel that was adapted into the 1967 hit film To Sir, With Love, starring Sidney Poitier, and the hit song To Sir, With Love, sung by Sidney Poitier’s co-star Lulu. His lesser known novel, a Choice of Straws, was originally published in 1965.
Choice of Straws is told from the perspective of Jack, a White East Londoner, who usually follows along with his Twin Brother Dave, who, while being inadvertently stabbed while attacking and killing a Black man, ends up dying in a car crash in a car driven by another Black man, a Medical student named Bill Spencer. Jack tells the truth to his parents about what happened and tries to dodge police inquiries. He also begins to discover himself as an individual, no longer in his brother’s shadow. This involves getting a girlfriend (Ruth) and losing his virginity while pursuing a romantic relationship with Bill’s sister Michelle.
Through Jack’s relationship with Michelle, Braithwaite revisits the divisions that race and class construct in people’s lives that he explored in To Sir with Love. In To Sir, With Love, the educated and sophisticated Afro-Caribbean Teacher is a victim of racism, however his pupils are victims of classism, which has meant that they have received a completely inadequate education to prepare them for anything but work as common labourers. Jack is working-class while Michelle is middle class and has a university education. She ends up ending their relationship for fear that Jack is just using her in order to experience dating a Black girl. This has happened to her before. Even the issue of Jack and Dave attacking the Black man is complicated by the fact that late in the radio play we learn that their father was assaulted by Black men during the 1958 Notting Hill Riots.
Choice of Straws doesn’t provide any easy answers to the racial and class conflicts that still divide Britain into many small islands, but it is a great exploration of these divisions and is itself an action of walking in the “other’s” shoes.
About E. R. Braithwaite
E.R. Braithwaite was born in Guyana in 1920. He was raised in a relatively privileged Afro-Guyanese family, both his parents were graduates of Oxford University. He served in the Royal Air Force as a pilot during World War II. He attended the University of Cambridge where he earned a doctorate in Physics. Like many people of colour in Britain after World War II, despite his qualifications, he found it hard to find employment in his field so was forced to take a job as a teacher in East London. The book, To Sir, with Love, was based on these experiences. Braithwaite pursued a career in social work and ended up getting a job finding foster homes for non-White children for the London County Council. He based his second novel, Paid Servant, published in 1962.
Braithwaite’s books were banned in Apartheid-Era South Africa until 1973. At this time, Braithwaite applied for a visa to visit South Africa. His visa as granted and he was given the status of “Honorary White”, which gave him far more freedoms and privileges than the indigenous Black population. He wrote about his experiences traveling in South Africa in the memoir Honorary White, published in 1975.
Braithwaite has worked as an educational consultant and lecturer for UNESCO, as the permanent representative for Guyana to the United Nations, as the Guyanese Ambassador to Venezuela, and as Writer in Residence at Howard University. Most recently, he has been a visiting professor at Manchester Community College. He now lives in Washington, D.C.
About the Notting Hill Race Riots
The 1958 Notting Hill Race Riots raged over the August Bank Holiday in Nottingham. Although dismissed by police at the time as just hooliganism perpetrated by White and people of colour alike, In 2002, theLondon Internal Metropolitan Police released documents related to the riots which told a different story:
The Met commissioner was told that of the 108 people who were charged with offences ranging from grievous bodily harm to affray and riot and possessing offensive weapons, 72 were white and 36 were “coloured”.
It is popularly believed that the riot began on the night of Saturday August 20 when a 400-strong crowd of white men, many of them “Teds”, attacked houses occupied by West Indians. Among the victims was Majbritt Morrison, a young white Swedish bride of a Jamaican. She was pelted with stones, glass and wood, and struck in the back with an iron bar as she tried to get home.
The internal police witness statements provide graphic evidence of the motives of the mobs – at one point crowds several thousand strong roamed the streets of Notting Hill, breaking into homes and attacking any West Indian they could find.
PC Richard Bedford said he had seen a mob of 300 to 400 white people in Bramley Road shouting: “We will kill all black bastards. Why don’t you send them home?” PC Ian McQueen on the same night said he was told: “Mind your own business, coppers. Keep out of it. We will settle these niggers our way. We’ll murder the bastards.”
The fact it is believed one of the first people attacked by Whites was a White woman in a romantic relationship with a Black man just demonstrates how subversive such unions were perceived as at the time. My own mother used to be called a “Nigger Lover” and “Race Traitor” jokingly by her family members when she married my father. The level of contempt that White women who agreed to be in romantic relationships with men of colour at this time, and in some places even now, is a phenomenon which I feel has not been explored well enough in anti-racism circles’ discussions around White Privilege.
The Notting Hill Carnival, an annual street festival led mainly by Britain’s Trinidadian and Tobagonian community, began in 1959 as a community response to the Notting Hill Race Riots. The first festival was organized by Claudia Jones, a Trinidadian American Communist and journalist who had been granted asylum in Britain in the late 195os after having been imprisoned and eventually deported from the United States due to her communist activities. In 1958, she founded the West Indian Gazette, the first newspaper printed in London for the Black community. She is considered “The Mother of the Notting Hill Carnival”. Black Academic Carole Boyce Davies has written her biography, Left of Karl Marx: The Political Life of Black Communist Claudia Jones. The title of the book refers to the fact that Jones, who died in 1964 due to heart disease and tuberculosis, is buried in London’s Highgate cemetary to the left of Karl Marx.
About Gugu Mbatha-Raw
Mixed Race British actress Gugu Mbatha-Raw has recently gained recognition in the United States as the star of the cancelled J.J. Abrams’ TV Series Undercovers. I can’t help but suspect that Undercovers partly failed because it had two Black leads playing “non-traditional Black roles”. Of the top of my head, I can’t think of any American TV Series with Black Leads, other than comedy series, that have survived very long. Despite this, Gugu’s beauty and talent has been “discovered” and we will be seeing more of her on the American screen. Gugu was born in 1973 in Oxford, England to South African doctor Patrick Mbatha and English nurse Anne Raw, who met while working together at a hospital . Her full name, Gugulethu, means “Our Pride” in Zulu. She is a graduate of the Royal Academy of Dramatic Arts in London. I first saw her in the British Sci-Fi TV Series Doctor Who, portraying Tish Jones, the sister of Doctor Who’s First Black Companion, Martha Jones. In 2009, Gugu played Ophelia opposite Jude Law in Donmar West End and Broadway Production of Shakespeare’s Hamlet. We will be seeing her on the big screen soon in the comedy drama Larry Crowne starring Tom Hanks and Julia Roberts and in the American Supernatural Thriller “Odd Thomas“.
To Ricky with Love by Caryl Phillips (2005 Guardian article available online)
Notting Hill Race Riots
After 44 years secret papers reveal truth about five nights of violence in Notting Hill by Alan Travis (2002 Guardian article available online)
The Forgotten Race Riot (2007 BBC article available online)
Long History of Race Rioting (2001 BBC article available online)
Profile of Claudia Jones available online
Interview (2009) in The Guardian available
Interview (2009) in The Telegraph available online
Video Interview (2010) available online
Black British Literature
Black British Literature since Windrush by Onyekachi Wambu (BBC History article available online)
God’s President Mugabe of Zimbabwe is a play that was commissioned by BBC Radio 4 for its Friday Play Series to mark the 30th anniversary year of the Independence of Zimbabwe. According to the BBC Radio 4 website:
Kwame Kwei-Armah’s play tells the story of the tense negotiations around the Lancaster House Conference, and the road to Zimbabwe’s Independence.
On 4th March 1980 the Shona majority in Rhodesia was decisive in electing Robert Mugabe to head the first post-independence government as Prime Minister. Six weeks later, on April 18th, Zimbabwe celebrated its first Independence Day.
On the 21st December 1979, following three months of talks, the Lancaster House Agreement finally brought independence to Rhodesia following Ian Smith’s Unilateral Declaration of Independence in 1965.
Margaret Thatcher’s government had invited Bishop Muzorewa and Ian Smith, and the leaders of the Patriotic Front, led by Joshua Nkomo (Zimbabwe African People’s Union/ZAPU)and Robert Mugabe (Zimbabwe African National Union/ZANU) to participate in a Constitutional Conference at Lancaster House in London, to be chaired by the foreign secretary, Lord Carrington.
The purpose of the Conference was to discuss and reach agreement on the terms of an Independence Constitution, and to ensure that elections should be supervised under British authority to enable Rhodesia to proceed to legal independence and the parties to settle their differences by political means.
Each scene of the play takes place on crucial day of Zimbabwe’s history, some of these days are well-known, others are not. The play jumps back and forth in history and goes back as early as 1960 and as late as 1980, covering twenty years in the history of Zimbabwe’s independence movement. British Zimbabwean actor Lucian Msamati (best known for his role as Mr. Matekoni in HBO’s No. 1 Ladies, Detective Agency) plays Robert Mugabe.
18th November 1971, in Salisbury Prison, Rhodesia
Alex Douglas Hume, the British Foreign Secretary under Prime Minister Heath and Bishop Muzorewa of the United African National Council visit Robert Mugabe and Edgar Tekere, who have been imprisoned by Ian Smith’s government. They are there to discuss the proposed constitutional settlement. The British government wants to get Tekere and Mugabe’s opinion.
Mugabe and Tekere feel that the proposal is just British capitulation to Ian Smith’s demands. Hume argues that the mechanisms are in place to lead to majority rule eventually. Bishop Muzorewa also objects to the proposal.
17th May 1979, Office of Lord Carrington, Britain
Lord Carrington reflects on Margaret Thatcher’s speech in regards to the crisis in Rhodesia. The British are considering recolonizing Rhodesia, establishing a constitution that both sides accept, then leaving. Margaret Thatcher doesn’t want to be seen as a racist by the Commonwealth and has sent a video of her speech to Zambian President Kenneth Kaunda in order to assure him that she supports Black Majority Rule.
3rd September 1979, Havana, Non Aligned Movement Summit, Cuba
Zambian President Kaunda is meeting with Robert Mugabe and challenging him on his squabbles with Nkomo. Kaunda doesn’t want to see more of his people die because Mugabe is behaving in a reckless and criminal fashion. Kaunda threatens to shut all of the ZAPU bases in Zambia if Mugabe won’t accept to negotiate a peace at Lancaster House.
10 September 1979, Lancaster House, Britain
Lord Carrington observes that Nkomo has come separately from Mugabe and they are both staying at separate hotels and have different PR representatives although they are both members of Zimbabwe’s Patriotic Front. Bishop Murorewa arrives with Ian Smith; they are both members of the Zimbabwe-Rhodesia delegation. Edgar Tekere arrives with Robert Mugabe.
10 September 1979, Lancaster House, Opening Plenary Session, Britain
Lord Carrington presents the proposed constitution for Rhodesia with which Britain will be prepared to grant independence. Lord Carrington expresses his anger that a cease-fire has not been called during these negotiations. Mugabe accuses Bishop Muzorewa of betraying the nationalist movement for siding with Ian Smith and defending thee rights of the White Minority.
In the bathroom, Robin Renwick, who works in the Rhodesia Department of the British Foreign Service, meets Tekere and expresses his hope that, even if official talks break down, he and Tekere can keep communicating.
Renwick asks if Tekere knew Mugabe before the liberation struggle because they seem so close. Tekere says he knew Mugabe would be their leader from the first time he spoke.
20th July 1960, Highfield Township, Salisbury, Rhodesia
Robert Mugabe has participated in demonstrations against and been chased by riot police. Tekere encourages Mugabe to speak to the crowd of demonstrators. Mugabe is hesitant because he doesn’t know what to say. Tekere tells him to just talk about his experience in the demonstration. Tekere introduces Mugabe to the crowd, explaining that he has three university degrees and has just returned from Ghana. Mugabe finally speaks. He says that Ghana was the first African state to gain independence and his expresses his admiration for that country where Africans are in control of their own affairs. While in Ghana, Mugabe realized that in Rhodesia Blacks are taught to worship the White man. Mugabe encourages the people in the crowd to stand up for their rights.
Tekere tells Mugabe that he is going to introduce him to Nkomo and invites him to join the party. Tekere tells Mugabe that he would be a great spokesperson. Mugabe states that he is a teacher in Ghana but Tekere says that now Mugabe’s job is to fight for freedom in Rhodesia.
10th September 1979, Lancaster House, Britain
Bishop Muzorewa is meeting with Lord Carrington on his own. Carrington emphasizes that if there is no settlement the British will not lift sanctions against Rhodesia. Carrington tells Bishop Muzorewa that his party needs to accept that White Privilege will come to an end in Rhodesia.
10th October 1979, Lord Carrington’s Office, Britain
The land of White farmers will be protected for 10 years in the proposed constitution. Mugabe says that this war is mostly about land and is angry about idea that Blacks will have to compensate Whites for the land they stole. Lord Carrington wants Mugabe to sign off on the constitution. Carrington informs Mugabe that he will only negotiate with Bishop Muzorewa and Ian Smith because they accept the proposed constitution. He tells Mugabe and Tekere that their attendance at the conference is no longer required and that they should keep in mind that Britain will be lifting sanctions on Rhodesia so they will facing a war with an economically revitalized country.
Mugabe is fed up with trying to negotiate with Carrington and decides to go over his head.
15th October 1979, Lord Carrington’s Office, White Hall, Britain
Secretary General of the Commonwealth, Sir Sonny Ramphal, who Mugabe has contacted, confronts Lord Carrington about his decision to expel Mugabe, Tekere, and Nkomo from the conference and accuses him of treating Mugabe like a child and being too close to Bishop Muzorewa and Ian Smith. Lord Carrington states that he thinks Mugabe is an unreasonable monster. Ramphal informs Lord Carrington that there are rumors that he had a separate meeting with Bishop Muzorewa, making it clear to him that he would get Mugabe, Tekere, and Nkomo to leave the negotiating table. Bishop Muzorewa discussed this meeting in a letter which has been leaked to African newspapers.
Ramphal says he can get Mugabe back to the table. Lord Carrington accuses Ramphal of being too close to the Africans. Ramphal explains that there are things he can get Nkomo and Mugabe to agree to that Lord Carrington can’t.
15th October 1979, a Hotel in Central London, Britain
Ramphal, Mugabe and Tekere are meeting. Mugabe is furious that in the proposed constitution Blacks will have to buy land from Whites at market price. Ramphal says that he spoke with President Jimmy Carter and America will contribute to the land resettlement fund to buy the land so it will not have to come from the new Zimbabwean government’s budget.
18th October 1979, Lancaster House, Britain
Tekere and Mugabe show up with a signed copy of the constitution, much to Lord Carrington’s surprise.
Now, the transition to democracy can be discussed. Lord Carrington says that Britain will return to Rhodesia for two or three months to monitor new elections.
Mugabe flips out and demands that their be a new Chair instead of Lord Carrington. He then storms off.
Robin Renwick tries to speak with Tekere before he goes off to follow Mugabe.
25th October 1979, Lord Carrington’s Office, White Hall, Britain
Bishop Muzorewa is meeting again with Lord Carrington. Lord Carrington asks Bishop Muzorewa to stand down as Rhodesian Prime Minister during the transition period because if he stays in power it looks like he is getting an unfair advantage. As he was only elected six months earlier, Bishop Muzorewa is not happy with this proposal. Lord Carrington assures the Bishop that British intelligence says that he is sure to win the election again and that Mugabe won’t be able to get his campaign together in only a few months so Muzorewa should not worry.
7th November 1979, Lancaster House, Britain
Lord Carrington is meeting with Robin Renwick. Lord Soames will be appointed as the New Governor of Rhodesia during the transitional period, although he knows nothing about Rhodesia.
14th November 1979, Lord Carrington’s Office, White Hall, Britain
Lord Carrington is happy that Bishop Muzorewa has agreed to step down as Prime Minister of Rhodesia. He reflects on the fact that in 1974, Ian Smith released Mugabe and his comrades from prison, only because the South African government asked him to. But then these former prisoners started getting killed. It looks like they were only released so that Ian Smith could take them out.
18th November 1974, Cambazumo/a Service Station, Salisbury, Rhodesia
Edgar Tekere picks up Mugabe in a car, Bob Marley music is playing on the radio. They are heading for the mountains at the border with Mozambique where they will walk to safety. They are fleeing assassination attempts by Ian Smith’s mercenaries. They have learned that Ian Smith’s mercenaries have sneaked into Patriotic Front camps and slaughtered men, women and children.
6th December 1979, Hotel Room in Central London, Britain
President Kaunda is meeting with Mugabe. He assures him that the Patriotic Front should not fear attacks by Ian Smith’s mercenaries as there will be a Commonwealth Monitoring Group stationed in Zimbabwe to ensure that the cease-fire is maintained.
14th December 1979, Press Conference , Hotel in Central London, Britain
Mugabe holds a Press Conference criticizing the negotiations and demanding that the international community become involved in order to protect the Zimbabwean people from the Rhodesian Security Forces.
14th December 1979, Hotel Room in Central London, Britain
Lord Carrington is angry about Mugabe’s Press Conference. Mugabe demands that Patriotic Front (ZAPU and ZANU) militias be permitted to have a central assembly point in Rhodesia so they are not vulnerable to attack at the country’s borders. He will only sign the Lancaster Agreement if his is allowed.
21st December 1979, Lancaster House, Britain
Members of the Patriotic Front delegation, the Zimbabwe Rhodesia delegation and the British delegation sign the Lancaster House agreement. Despite this, Mugabe expresses that he feels wronged and cheated.
20th February 1980, Election Rally, Harare, Zimbabwe
Mugabe and Tekere return to Zimbabwe after five years in exile. Lord Soames has been threatening to kick them out of the elections but if that happens, they have declared that they will consider the forces of the Patriotic Front absolved from maintaining the Lancaster Agreement, particularly the ceasefire.
4th March 1980, Harare, Zimbabwe
Nkomo’s Part, ZAPU has won 20 seats. Bishop Muzorewa’s party has won only 3 seats. Mugabe’s ZANU has won 57 seats. Although he has won, Mugabe says that the fight has only just begun.
18th April 1980, Zimbabwe House, Harare, Zimbabwe
Bob Marley has been invited to perform for Zimbabwe’s first Independence Day. Mugabe is so excited to meet him. He explains that Patriotic Front soldiers sung Marley’s songs while they fought the resistance struggle. Marley will be performing the song he wrote in support of Zimbabwe’s freedom struggle, Zimbabwe.
Bob Marley expresses concern with what he sees going on in Harare. He says that he doesn’t just want to perform for “Uptown people” and doesn’t want to see ordinary people being beaten by police just because they want to come and see him perform but were not invited. Mugabe agrees to organize a free concert for the masses on the next day.
Bob Marley quotes from the song Zimbabwe “Soon we will see who is the real revolutionary”.
Carrington, Renwick asks if they got the right man, relates that there have been reports of atrocities in the north, Carrington says that it’s Africa so a strong leader is needed, not sure
I’m not sure if you can consider this play “entertaining” in the traditional sense; however, for those of us who are interested in how politics actually works, it is a great play and incredibly informative. Dramatically speaking, there are many interesting moments which could be considered even poignant if you are knowledgable about Zimbabwe’s post-independence history. For example, the fack that Edgar Tekere was so close to Mugabe, that he actually was the one to encourage Mugabe to become a leader in his party, is ironic given their current rivalry. Bob Marley quoting from his song Zimbabwe by saying “soon we will see who is the real revolutionary” is very striking, as it has become quite clear that, although a Black Nationalist, Mugabe has seemed particularly inconsiderate about the lives of poor Zimbabweans and the fact that he at first only organized Marley’s concert for the political elite and their guests foreshadows this. Rasta Ngwenya describes Bob Marley’s first concert in Harare as follows:
In fact, the first official words uttered in Zimbabwe, following the raising of the new flag, were: “Ladies and gentlemen, Bob Marley and the Wailers.”
Twenty minutes later, Bob and The Wailers started their set. As soon as the first notes rang out, pandemonium broke loose in the enormous crowd gathered by the entrance to the sports stadium: the gates shook and began to break apart as the crush increased, the citizens of Harare, both excited and angry at being excluded from seeing these inspirational musicians.
As clouds of teargas drifted almost immediately into the stadium itself, the audience on the pitch fell on their feet in an attempt to protect themselves. The group members tasted their first whiffs of the gas and left the stage. “All of a sudden,” said Judy Mowatt, “you smell this thing taking over your whole body, going in your throat until you want to choke, burning your eyes. I looked at Rita (Marley) and Marcia and they were feeling the same thing.”
“I feel my eyes and nose,” remembered Family Man, “and think, from when I was born, I have to come all the way to Africa to experience teargas.”
Bob, however seemed to have moved to a transcendent state. His eyes were shut, and for a while the gas didn’t seem to have an effect at all. Then he opened his eyes and left the stage.
Backstage, the group had taken refuge in a truck. Outside they could see small children fainting and women collapsing. It looked like death personified to Mowatt, who briefly wondered whether they had been brought to Zimbabwe to meet their ends.
She persuaded someone to drive her and the other I-Threes back to the hotel, only to discover on the television that the show had resumed. After about half an hour Bob and the Wailers had gone back on stage. They ended their set with Zimbabwe, a song Bob had worked on during his pilgrimage to Ethiopia late in 1978, and which became arguably his most important single composition.
Bob was just coming offstage as Mowatt and her fellow women singers returned to the stadium. “Hah,” he looked at them with a half-grin, “now I know who the real revolutionaries are.”
It was decided that the group would play another concert the following day, to give the ordinary people of Zimbabwe an opportunity to see Bob Marley.
Over 100 000 people-an audience that was almost entirely black- watched this show by Bob Marley and The Wailers. The group performed for an hour and a half, the musicians fired up to a point of ecstasy. But Bob, who uncharacteristically hadn’t bothered to turn up for the sound check, was strangely lacklustre in his performance; a mood of disillusionment had set in around him following the tear-gassing the previous day.
After the day’s performance, the Bob Marley team was invited to spend the evening at the home of Tekere. This was not the most relaxed of social occasions.
As the henchmen strutted around with their Kalashnikovs, Mills was informed by Tekere that he wanted Bob to stay in Zimbabwe and tour the country. “Bob told me to say he wasn’t going to, but the guy didn’t want to hear me.”
While Bob remained in the house, Rob Partridge and Phil Cooper sat out in the garden. “I could hear,” said Cooper, head of international affairs, “Tekere saying to Bob, ‘I want this man Cooper. He’s been going around putting your image everywhere. He’s trying to portray you as a bigger man than our President.’ I could hear all this.
“Then Bob came out and said to us, in hushed, perfect Queen’s English; ‘I think it’s a good idea for you to leave’.”
“Partridge and I went and packed, and took the first international flight out, which was to Nairobi. About five months later Tekere was arrested and put in jail; he had been involved in the murder of some white settler.
I was particularly fascinated to learn about the roles played by Zambia’s President Kenneth Kaunda and Indo-Guyanese politician and former Foreign Minister of Guyana, Sir Sonny Ramphal, who is played by the writer of the play Kwame Kwei-Armah.
About Kwame Kwei-Armah
Kwame Kwei-Armah is a British playwright, actor, and singer. He is the First Black Briton to have a play staged on London’s West End when his play Elmina’s Kitchen was staged in Garrick’s Theatre in 2005. He was born Ian Roberts in London. His parents are immigrants from Grenada. He changed his name to Kwame Kwei-Armah in his 20s after he traced his family’s roots to Ghana.
Zimbabwe’s History: Key Dates (BBC News article available online)
Zimbabwe at 30 Audio Slideshow (BBC News article available online)
Joshua Nkomo’s Obituary (BBC News article available online)
Viewpoint: Kaunda on Mugabe (BBC News article available online)
House of Stone at 30 by Farai Sevenzo (BBC News article available online)
Lucian Msamati Cut His Teeth Doing Political Theatre in Zimbabwe. Now He Has a Lead Role in Alexander McCall Smith’s Rose-Tinted Vision of Africa by Aida Edemariam (Guardian article available online)
Interview (1980) with Lord Carrington by Time Magazine (Time article available online)
Interview (2000) with Lord Carrington by David Frost (BBC News transcript available online)
When Bob Marley Caused a Riot in Africa by Rasta Ngwenya (article available online)
Video of Bob Marley performing Zimbabwe, with lyrics available
Profile of Kwame Kwei-Armah (article available online)
Interview (2008) with Kwame Kwei-Armah available online
Interview with Kwame Kwei-Armah available online
Matthew returns to Nigeria, the land of his birth. He has come to secure the release of his son who has become caught up in the politics of a land in turmoil; a land he has fallen in love with.
The cast of the play is as follows:
Matthew …. Lucian Msamati
The General …. Jude Akuwudike
Medina …. Lorraine Burroughs
Keith …. David Ajala
Sunday …. Obi Abili
Inenevwerha …. Gbemisola Ikumelo
Director: Femi Elufowoju Jr.
The story begins in Britain with couple Matthew and Medina being interrupted by a telephone call from Nigeria. The scene changes rapidly to an airport in Port Harcourt in Nigeria’s Niger Delta. Medina is upset because thieves have run off with her bag and the houseboy, Sunday, did nothing to stop them. Matthew doesn’t seem to really care; he is more concerned with why he and Medina have come to Nigeria-to find his teenage son who is missing after reportedly been involved in an oil fire that has killed many people. He speaks with local Area Boys in order to find someone who can help him locate his son and they direct him to The General. From the General, Matthew learns that his son has become an activist for the rights of the people negatively affected by oil drilling and has joined the group Movement for the Emancipation of the Niger Delta (MEND). He demands that Matthew bring money in order to continue the search for his son and bribe the police who are also searching for his son because of his involvement in the fire.
As the story progresses, we learn that Matthew, a British Nigerian widower and engineer who grew up in Warri but left when he was 10, sent his then 13 year old son, Keith, to live with his aunt in Warri after his son shot him. His son Keith was getting involved with local gangs in Peckham and also was very unhappy about his father’s relationship with British Jamaican Medina. Five years later, and Keith has gone missing.
Medina is very uncomfortable in Nigeria and looks for comfort and advice from her father who used to work in the Jamaican Embassy in Nigeria. Matthew asks Medina for the money to give to the General, some $20,000, and her father helps her get it into the country. After reading a news article about the devastation of the oil fire which is blamed on Keith, Medina concludes that Keith is dead but Matthew doesn’t believe her. According to the article, Keith, as well as other Niger Delta militants, was involved in illegal oil bunkering, basically stealing oil from oil pipelines. As many of the local people can’t get access to or afford fuel, they often try to come and collect some of this oil as well, although most of the oil is collected by militants in order to pay for supplies and arms in their struggle. Fires often break out at these pipelines, as had happened in this case, and many people died. Matthew and Medina go to visit the site of the oil fire with Sunday and they meet Inenevwerha, who lives in abject poverty and whose brother died in the fire. Matthew was told that she had seen his son but she doesn’t speak of him and instead breaks down after talking about the devastation of the oil fire which burned people down to their bones. Medina is deeply moved by Inenevwerha’s story.
Matthew is still convince that his son did not die in the fire. He confronts the General who admits that Keith is not dead and that he is actually hiding him from the police. It is the General who indoctrinated Keith into the resistance movement of the Niger Delta. The General considers Keith to be like his son, as he and his wife have been unable to have children due to infertility produced by oil pollution. Matthew gets to see Keith, who now wants to be called by his Nigerian name Keefay. Keith tells his father how abandoned he felt when he was sent to Nigeria but he is also happy because it is in Nigeria that he learned to be a man. Matthew learns that Keith is actually in a relationship with Inenevwerha and they are expecting a child. Matthew asks for Keith’s forgiveness and the father and son are reconciled. Matthew leaves the money with Keith and says that he will stay in Port Harcourt as he wishes to see the birth of his grandchild.
The play explores identity as we see through out that Matthew is trying to assert his “Nigerianness” but constantly fails because he is out of touch with the political situation and can’t even really understand the local language anymore, apart from pidgin English. When he finally meets his son, he has to demand that he speak to him in English. Medina and Matthew’s relationship seems to fracture also because of identity. Medina, although Black, isn’t African or Nigerian and feels very out of place in the Niger Delta. Matthew doesn’t seem to appreciate the situation he’s put her in and goes on to demand to borrow a large sum of money from her. At the end of the play, he dismisses Keith’s concerns that Medina might not be happy to learn that Matthew wants to stay in Nigeria. Matthew’s lack of consideration for Medina upset me and seemed completely disrespectful, particularly after he borrowed the money from her. It’s as if in reclaiming his Nigerian identity and thus being able to connect with his son, he feels he must reject Medina and her Black British identity. It seems that Matthew is asked to choose between Medina and what she represents and his son, the choice which Keith had demanded his father make five years earlier when he shot him. Medina’s character is not played or written to be unlikable, quite the opposite, which makes Matthew’s treatment of her even more troubling.
The injustices facing the peoples of the Niger Delta are very clearly laid out in the play and will hopefully draw Westerners’ attention to the ever worsening situation in the area.
Interview (2009) with Rex Obano available online
Interview (2010) with Rex Obano available online
Interview with Lorraine Burroughs available online
Interview (2010) with Lorraine Burroughs available online
Interview with Gbemisola Ikumelo available online
Interview (2003) with Femi Elufowoju Jr.available online
Interview (2009) with Femi Elufowoju Jr. available online
Interview (2010) with Femi Elufowouju Jr. avaialble online
Blood Oil dripping from Nigeria by A. Walker (BBC article available online)
While scouring the cheap DVD bin at my local Giant Tiger, I struck gold. I found one of my all-time favourite films, Flirting (1991). It was only $2! Flirting is definitely one of my “Top 5 Desert Island Films”. I’ve loved it since the first time it played on Canadian Cable when I was about twelve or thirteen.
So, why did an Australian Film set in 1965 at a Boarding School speak to me so deeply as a tween?
Starring: Noah Taylor, Thandie Newton, Nicole Kidman, Naomi Watts
Written and Directed by John Duigan
Flirting is the sequel to Australian writer and director John Duigan’s 1987 film The Year My Voice Broke (a film I also adore). It is narrated by the central character of both films Danny Embling (Noah Taylor). Danny has been sent away to boarding school in New South Wales by his parents in the hopes he won’t become a delinquent after the events that occurred in The Year My Voice Broke. At boarding school, 17 year old Danny is the butt of jokes because of his stutter and long nose (for which he is nicknamed “Bird”). He describes life in Boarding School as follows:
One thing about boarding school, 24 hours a day you’re surrounded. Either you abandoned yourself and became a herd animal or you dug a cave deep into your head and skulked inside, peering through your eye sockets.
His only friend is Gilbert, who likes to smoke a pipe and is hardly any more popular than Danny himself. Danny looks down on his fellow classmates as imbeciles and oafs and prefers to read Jean-Paul Sartre and Albert Camus. But, as he is a teenage boy, he does long for female companionship and takes as much pleasure as the other boys at any opportunity given to see the girls from Cirencester Ladies’ College, the girls’ boarding school on the opposite side of the lake.
At a rugby match, Danny’s clever remark that he is only interested in rugby from an anthropological viewpoint because it’s a mating ritual catches the attention of Thandiwe Adjewa, played by the amazing Black British actress Thandie Newton, who has just arrived from school in England. Her father, a Ugandan, is lecturing at university in Canberra. Thandiwe has befriended Melissa and Janet (played by Naomi Watts) but she also sees herself as “above” her fellow students and has to put up with their racism which includes taunts about bananas and Ugandans being only able to compete in the Zoo Olympics. At a debate between the two schools in which Danny, despite his stutter, is able to deliver an eloquent speech on how rugby exemplifies the epitome of human endeavour and Thandiwe throws the debate by quoting the song Tutti Fruitti Au Rutti, the two finally get a chance to speak and Thandiwe invites Danny to the Boarders’ Dance.
Danny ends up not being able to attend the dance because his headmaster thinks his hair is too long. Thandiwe breaks the rules by going to look for him and the two sneak away to his dormitory. Thandiwe explains that although her father is Ugandan, her mother, who is deceased, was Kenyan and had an English mother. After finding a copy of an English translation of Jean-Paul Sartre’s book Intimacy and Other Stories on his bed, Thandiwe tells Danny that she met Sartre in Paris.
Danny: What did you say to Sartre?
Thandiwe: I suggested marriage was a doomed institution.
Danny: What did he say?
Thandiwe: He agreed most people marry to please their parents or society.
Danny: Not keen on marriage yourself?
Thandiwe: I see so many terrible ones. People just stop communicating. My father and stepmother are brilliant communicators. They hardly ever talk to each other these days, except in public. Anyway, I doubt I’ll ever find anyone complex enough to keep me interested. I lose interest in people. I imagine they’re far more fascinating than they are. So I’m always disappointed.
Danny: Hard Life.
It’s clear that Thandiwe and Danny are well matched as they both think that are too smart for their surroundings. Thandiwe kisses Danny and demands that he write her. Thandiwe is punished by the headmistress for leaving the dance without permission and is given chores by the prefect, Nicola Radcliffe, played by Nicole Kidman. Soon after, Thandiwe’s letter to Danny is taken by Burke, one of Danny’s constant tormentors and the school’s boxing champion, and is read allowed to his classmates. In the letter, Thandiwe writes: “I’m told your nickname is Bird. Well I like long noses it means your well-endowed-with brains of course”. Word of the letter spreads and Thandiwe ends up getting teased about it. She doesn’t believe Danny when he calls her, pretending to be her father and putting on an “African” accent, and tells her that the letter was stolen. She refuses to partner with him when the two schools work together to put on a school musical. Danny is determined to win Thandiwe back and fains illness in order to take a boat across the lake and find Thandiwe at her school. While at dance class, Nicola Radcliffe explains to Thandiwe that the letter really was stolen. Thandiwe regrets not trusting Danny. By this time, Danny has gotten into the school by climbing into the dormintory window of some of the College’s younger students. They help him find Thandiwe and the two are reunited.
In a fascinating scene which is accompanied by a montage of “African” images from the 40s, 50s and 60s in print and on film, Danny reflects about his knowledge of where Thandiwe comes from:
When I started thinking about Africa I realized that the only images I knew were from old annuals, Tarzan comics and Hollywood movies. Cannibals with bones through their noses, lions tearing the throats out of antelopes, and a lot of wondrous, moving words like Limpopo, Zambezi, Mombasa, Tanganyika.
As Danny and Thandiwe’s relationship grows, he gets to learn about Africa from Thandiwe’s perspective, although he doesn’t really take it all in. He reflects:
Thandiwe started telling me about Africa as she knew it. How her mother was killed during the Mau Mau period in Kenya. How her father wrote books about African nationalism and the problems created as the colonial government scrambled to get out. There had been terrible times for the last few years: The Belgian Congo, Zanzibar, Angola, Kenya, places I’d barely heard of. Often, I never really heard what she said. I’d be staring at her legs. They were very comforting ‘cause sometimes there would be little bruises or marks around her ankles from the elastics in her socks. That’s how come I knew she was real.
While getting ready to perform the musical, the boys discover that they can see the girls getting changed and Burke decides to take a picture. Danny attacks Burke and their fight is broken up by their prefect who proposes that they instead box each other later in the week. Danny and Burke end up boxing and of course Danny is beaten severely. At one point, after sustaining hard blows to the head by Burke, Danny hallucinates that he can see Jean-Paul Sartre in the crowd of students watching the fight. Gilbert and Thandiwe take Danny to the school’s infirmary.
After the performance of the musical, Danny introduces his parents to Thandiwe and her parents. Danny’s mother is obviously shocked and unsettled to be meeting Africans but his father is quite charmed by Milton Adjewa, Thandiwe’s father. Danny and Thandiwe meet later that night and make out in an amusing and awkward scene. Things seem to be going so well for the young couple but the political crisis building in Uganda leads Thandiwe’s parents to return to the country. Thandiwe fears that her father, who has written about government corruption in the country might be a target as he has many enemies. She is right and soon after her father’s return, he is arrested. Thandiwe feels he must return to the country in order to look after her younger brother and sister as her stepmother might also be arrested. Lying about her true departure date, Thandiwe leaves the school a day early in order to spend the night in a motel with Danny. The two get a chance to make love but soon after they are caught by school officials.
Because of his indiscretion, Danny is expelled from St. Albans and returns home to work in his father’s pub. Thandiwe regularly writes him letters from Uganda. In the letters, Danny learns about the deteriorating situation in Uganda, an army general named Idi Amin, and of Thandiwe’s father’s execution. Then the letters stop.
People have speculated that John Duigan’s Danny Embling films are autobiographical. This is not the case, as Duigan explained in a 1996 interview:
To some extent. I used that character to describe my evolving sensibilities on various things, but it’s not strictly speaking autobiographical, except in the most rudimentary way. His background is completely different from mine. The boarding school experience is very similar. I tend to give the characters certain experiences I had but I give them a lot I didn’t and a lot I would have liked to have had. Like meeting Thandie Newton at the sister school. It’s a liberating form of oblique autobiography because you can do anything.
I really love the main theme The Lark Ascending, a composition by English composer Ralph Vaughn Williams for violin and orchestra which Duigan uses in both Flirting and The Year My Voice Broke. According to John Duigan, he chose this theme because he thought it reflected Danny’s adolescent yearning.
I watched Flirting during a very dark and troubling time in my life. I had dropped out of junior high and was spending my days watching TV, listening to Ottawa’s Classic Rock Station Chez 106 (This is how I became a fan of Led Zeppelin) and wondering why I was such a freak. I would eventually return to high school but have to withdraw and receive visiting teachers because my social anxiety and depression made attending regular school unbearable. Ever since I can remember, I had felt like an outsider, a misfit and I couldn’t relate to children my age. At the beginning of the film, when Danny talks about digging a cave in his head and skulking inside, I felt that he was describing what I had been doing my whole life. I longed to find someone who would understand and appreciate me. I wanted to fall in love and do pretty much what other teenagers wanted to do when they were in love. But my prospects seemed so slim. The film Flirting gave me hope that I could find love with someone as awkward and intellectually precocious as myself.
Thandie Newton, who was only 16 when she starred in Flirting, began a romantic relationship with John Duigan, who was 39 at the time. She has described the relationship, which lasted for six years, as “traumatic”. In a 2006 interview she stated: “Sexual abuse is shaming. I was in a relationship with a much older person and in retrospect, although it was legal because I was 16, I was coerced.” In a 2009 interview she stated: “I was 16. I didn’t tell my parents about it (the relationship) but really young people who are vulnerable have to be looked out for. I’ve just been out to South Africa to Oprah’s Leadership Academy. I looked at the 16-year-old girls there. How can it possibly be right to start a serious relationship with someone that age when you are so much older? I’ve been through a lot of therapy so I sort of know why people do things now.” Despite this rather disturbing revelation, I still love Flirting, even if some parts of it now seem a bit pervy in light of Newton’s relationship with Duigan.
If my older wiser self could speak to my younger lonelier miserable self, I would tell her that “it gets better” and that friendship is really what you should be looking for. For lonely loners who are too smart for their own good, friendship can be far harder to find and maintain than romance. I was able to get into a romantic relationship at 17 with a 25 year old before I had any real friends. This was disastrous and pretty traumatic. But soon after, I made two of my dearest friends, who I’m proud to say are still in my life after all these years. So, for all you lovely lonely losers out there like I was, watch Flirting, it’s a film made for us, but make good friends before you go out trying to find love.
Interesting Trivia: Flirting won the Australian Film Institute Award for Best Film. The film ranked #46 on Entertainment Weekly’s The Best 50 High School Movies and The Guardian included Flirting in its list of the Five Best Boarding School Movies. John Duigan would go on to direct Thandie Newton in The Journey of August King (1995) and The Leading Man (1996) starring Jon Bon Jovi.
American Trailer for Flirting available online
Interview (1996) with John Duigan available online
Interview (2006) with Thandie Newton available online
Interview (2009) with Thandie Newton available online
Entertainment Weekly’s The Best 50 High School Movies gallery available online
Top of the Class: The Five Best Boarding School Movies 2009 article in The Guardian available online
A List of other great Australian Coming of Age Films courtesy of Queensland Gallery of Modern Art available online
Last week, I had the chance to listen to Don Letts’ BBC Radio 4’s Documentary about the life and work of Peter Tosh.
Here’s the description:
Peter Tosh found international fame alongside Bob Marley as a member of The Wailers. As a solo artist he released several landmark reggae albums and even recorded with the Rolling Stones. But he was more than just a successful pop star: he was a revolutionary and a hero to many of Jamaica’s poor. He spent his life as a strident campaigner for civil rights and for the legalisation of marijuana. He was more militant and political than his former band mate and his uncompromising arrogance often landed him in serious trouble. For that reason, as this documentary reveals, his life could be as brutal as the way it ended. Grammy award winning film-maker Don Letts explores his career.
The documentary opens with excerpts from interviews with people who knew Peter Tosh:
Peter Tosh was the Malcolm X to Bob Marley’s Martin Luther King. One was the arouser and one was the healer. But Peter was much more on the side of militancy. (Roger Steffens, Reggae Historian)
His songs have been recorded by Eric Clapton, Peter Gabriel, Jackson Brown, Ben Harper, Chrissie Hynes from the Pretenders, Jerry Garcia of the Grateful Dead, Sinnead O’Connor. (Wayne Jobson, DJ and producer)
Peter was adored as a revolutionary in Jamaica. He was so charismatic and he was saying very much what the people thought. (Vivien Goldman, Journalist)
Don Letts’ opens the documentary with the following statement:
Peter Tosh was not your average rockstar and as a person you probably won’t even like him. He could be arrogant, unpleasant and intimidating. But for me he was also a completely awe-inspiring performer, a revolutionary who stood up for the equal rights of the Jamaican poor and Black people all over the world. They always call Bob Marley the Reggae Rebel but Peter Tosh was far more militant and political than Bob ever was. His uncompromising attitude often caused controversy and landed him in serious trouble and as you will hear his life could sometimes be as brutal as the way it ended.
As Bob Marley archivist Roger Steffens states:
He made a guitar out of wire and a sardine can and taught himself to play by watching an older man who actually had a guitar.
According to Jamaican-American Wayne Johnson, producer of the documentary Red X, about Peter Tosh:
I think with him growing up in Jamaica during the colonial days in the 50s and so it was you know as Peter said you never saw a Black school teacher, or a Black preacher or a Black bank manager or anything like it was all English people who came down and took the big jobs and therefore you know eventually you would want to rebel against this especially with the church where he was forced to go to church two, three times a week and every day he was singing “O Lord wash me and I’ll be as white as snow.” You can’t oppress anybody worse than that you know and so Peter said it was almost like apartheid in those days.
In a 1983 BBC Interview, Peter Tosh explains:
I was the first one in the group who played music. I used to play my guitar. I used to play the keyboards. I taught Bob to play guitar and I taught Bunny to play guitar because it was a part of making your music perfect see. And in those times is like we had a good voice but we wasn’t creating music that music that much it was just singing people song and singing people son and the people been telling us that we sound good why don’t go to the studio so we got together once and we did some recording recorded the first one which was Simmer Down and the people loved it. It sold well.
As Vivien Goldman explains:
I don’t think I’ve ever had as many arguments with anybody in my life as I did with Peter Tosh.I remember once I was interviewing him, he was like “Women are inferior to men!” I was like “Why is that?” you know “Oh look at the docks , if you go down to the docks a woman can’t pick up a heavy bag and carry it the same way a man can.” And there was you know there was quite embedded in Rasta certain things for women their period was regarded to be unclean but he was really into it “Oh!!!!” you know “ Are you having your period? Should you be in the room with me know?” I was like excuse me, I’m here as a working professional matey.
The Guardian’s Review of Arise Black Man The Peter Tosh Story by Elisabeth Mahoney
Roger Steffens’ Reggae Archives Website
Vivien Goldman’s Blog
The many voices of Rastafarian women : sexual subordination in the midst of liberation by O. Lake (essay available online)
October is Britain’s Black History Month. 2010 marks its 23rd year. Black History Month celebrations have spread since the first was held in London in 1987, a period declared African Jubilee Year by the then Greater London Council in recognition of the centenary of Jamaican activist Marcus Garvey’s birth, the 25th birthday of the Organisation of African Unity and the 150th anniversary of the emancipation of the Caribbean. British Ghanaian Akyaaba Addai Sebbo, then coordinator of Special Projects at the Greater London Council (GLC) is acknowledged as the originator of UK’s Black History Month along with Linda Bellos, daughter of a Jewish mother and Nigerian father, who was the Chair of the Greater London Council at the time. At one of the Month’s first celebrations, Bernie Grant MP stated that “Ignorance of Black history and heritage breeds low self-esteem.”
Although there were Blacks in Britain before since Roman times, 1948 marks the first major influx of Blacks to Britain. They came as migrants on the ship Windrush from the Caribbean. According to the BBC History website:
The Empire Windrush’s voyage from the Caribbean to Tilbury took place in 1948. Believe it or not, very few of the migrants intended to stay in Britain for more than a few years.
If it hadn’t been for the Second World War, the Windrush and her passengers might not have made the voyage at all. During the war, thousands of Caribbean men and women had been recruited to serve in the armed forces.
When the Windrush stopped in Jamaica to pick up servicemen who were on leave from their units, many of their former comrades decided to make the trip in order to rejoin the RAF. More adventurous spirits, mostly young men, who had heard about the voyage and simply fancied coming to see England, ‘the mother country’, doubled their numbers.
June 22nd 1948, the day that the Windrush discharged its passengers at Tilbury, has become an important landmark in the history of modern Britain; and the image of the Caribbeans filing off its gangplank has come to symbolise many of the changes which have taken place here. Caribbean migrants have become a vital part of British society and, in the process, transformed important aspects of British life.
In 1948, Britain was just beginning to recover from the ravages of war. Housing was a huge problem and stayed that way for the next two decades. There was plenty of work, but the Caribbeans first clashed with the natives over the issue of accommodation. But alongside the conflicts and the discrimination, another process was taking place.
Excluded from much of the social and economic life around them, they began to adjust the institutions they brought with them – the churches, and a co-operative method of saving called the ‘pardner’ system. At the same time, Caribbeans began to participate in institutions to which they did have access: trade unions, local councils, and professional and staff associations.
The following is a list of some Black British Firsts:
John Archer (1863 to 1932), Britain’s First Black Mayor
Lord Leary Constantine (1902 to 1971), Britain’s First Black Peer
Bernie Grant (1944 to 1998), Britain’s First Black Councillor and one of the country’s first Black MPs
Paul Boateng, Britain’s First Black Cabinet Minister and one of the country’s first Black MPs
Diane Abbott, Britain’s First Black Woman MP
Baroness Valerie Amos, Britain’s First Black Woman Peer
Arthur Wharton (1865 to 1930), Britain’s First Black Footballer
Vic Anderson, Britian’s First Black Footballer to represent England
Mike Fuller, Britain’s First Black Chief Constable
Bishop Wilfred Wood, Britain’s First Black Bishop of the Church of England
100 Great Black Britons Website
Black History Month UK Website
Norfolk Black History Month Website
Oral history of passengers on the Windrush from the BBC Website
blackhistory4schools is the leading website in the UK dedicated to the promotion of Black and Asian British history in schools.Since its inception in 2006 more than 120,000 people have used the website.The resources are freely available and cover topics ranging from the Romans to the Windrush
Black Presence: Asian and Black History in Britain 1500 to 1850 Website
Moving Here Website: Caribbean Migration Histories
Untold London Website
Second-Class Citizen by Buchi Emecheta, Flamingo 1989
Buchi Emecheta is one of Nigeria’s most well-known writers. She managed to raise her five children on her own, go to university, eventually achieving a Ph.D from the University of London, and write over 20 novels, plays, and short stories. She was honoured with the Order of the British Empire in 2005.
Emecheta was born on July 21, 1944 in Lagos, Nigeria. Her parents were Ibos who had left the Ibo town of Ibusa (Igbuzo in Ibo) located in what is now called Delta State. She moved to London, England to join her husband in 1962. Second-Class Citizen (1974), her first published novel, is semi-autobiographical, based on her childhood in Lagos and early life in London with her husband before she divorced him.
Adah, the character based on Buchi, is smart and determined to study despite the fact that there is not much means or will to have her educated particularly after her father dies. Adah eventually marries Francis and together they move to London, England in the early sixties. Life is hard. Not only is there racism which makes it difficult to find accommodations, but Francis himself becomes Adah’s greatest obstacle.
Adah is the primary breadwinner for the young and growing family with her job as a librarian. Francis becomes physically abusive towards Adah and cheats on her. Although Francis is definitely portrayed to be an obnoxious bully it is clear that Adah doesn’t entirely hate him. She understands why he’s ended up this way: “Francis was not a bad man, just a man who could no longer cope with the over-demanding society he found himself in. (p. 110)” This is sadly probably true for many immigrant men or any man who does not have the ability to cope with failure and the setbacks and challenges of life. But why do men often need to feel power over someone in order to feel better about themselves? Where does this need come from?
Adah is a survivor and this novel is the story of her survival. It is also a fascinating portrait of Black immigrant life in sixties London. Despite what could be quite depressing subject matter, Second Class Citizen is actually an easy read and more often than not quite funny. I have actually reread Second Class Citizen several times and I never stop finding great character portraits and home truths.
Interesting Passages from the novel:
Adah is a Christian but her husband is a Jehovah’s Witness. But he wasn’t always a Jehovah’s Witness. While at the maternity ward Adah meets a women who waited 17 years to have her first child. Adah wonders what Francis would have done if it had taken 17 years for her to give him a son:
Suppose she had had to wait seventeen years for all that? She would have either died of psychological pressures or another wife would have been bought for Francis. He would have declared himself a Moslem, for he was once a Moslem when he was younger. Francis was like the Vicar of Bray. He changed his religion to suit his whims. When he realized that equipping Adah with birth-control gear would release her from the bondage of child-bearing, Francis went Catholic. When he started failing his examinations and was feeling very inferior to his fellow Nigerians, he became a Jehovah’s Witness. (p. 122)
Adah befriends Janet, a young Cockney girl who is the wife of a Muslim Nigerian, Mr. Babalola. He is hardly an endearing character. In the following passage, one of the sources of the conflict between Southerners (predominantly Christian) and Northerners (predominantly Muslim) is outlined, of course with a Southern Ibo bias.
Mr. Babalola had come to England, just like Francis and Adah, to study. But, unlike Adah and Francis, he had been single, and had a Northern Nigerian Scholarship. This meant that he had more money to spend, because the Northerners, unlike the over-educated Southerners, would do anything to encourage the men to really get educated so that they could come home and obtain the jobs in the North which were then going to the Southerners. Mr. Babalola was, therefore, a very rich student.
Rumour had it that he had a glossy flat and was always entertaining. This was no surprise to anyone who knew the Northerners. They liked to spend their money, to really enjoy what they had, and to them what they had was theirs only today, not tomorrow or the day after. Allah would take care of the future. That was certainly Babalola’s philosophy of life. (p. 52-53)
Janet, who gets pregnant at sixteen by a West Indian, gets kicked out by her parents because she refuses to give up her baby. Babalola ends up taking her in and using her as a party favour for his friends. As Emecheta writes: “…Janet was being offered to any black man who wanted to know how a white woman looked undressed. Most of Adah’s neighbours had had their sexual adventures with Janet.”
However, this all changes when a broke Babalola (His Northern Nigerian Scholarship is inexplicably revoked) realizes that Janet can receive enough social assistance for herself and her baby to pay his rent. Babalola decides to keep Janet all to himself and she bears him a child. Babalola, like Francis, seems content to depend on women financially, while still treating these women like servants.
Adah reflects on being the child of Ibos from Ibuza living in Lagos:
Well, Adah thought she was eight at the time when her mother and all the other society women were busying themselves to welcome the very first lawyer to their town Ibuza. Whenever Adah was told that Ibuza was her own, she found it difficult to understand. Her parents, she was told, came from Ibuza, and so did many of her aunts and uncles. Ibuza, she was told, was a beautiful town. She had been taught at an early age that the people of Ibuza were friendly, that the food there was fresh, the spring water was pure and the air was clean. The virtues of Ibuza were praised so much that Adah came to regard being born in a God=forsaken place like Lagos as a misfortune. Her parents said that Lagos was a bad place, bad for bringing up children because here they picked up the Yoruba-Ngbati accent.(p 7-8)
Adah reflects on her social isolation in England and how this relates to domestic abuse:
In England, she couldn’t go to her neighbour and babble out troubles as she would have done in Lagos, she had learned not to talk about her unhappiness to those with whom she worked, for this was a society where nobody was interested in the problems of others. If you could not bear your problems any more, you could always do away with yourself. That was allowed, too. Attempted suicide was not regarded as a sin. It was a way of attracting attention to one’s unfortunate situation. And whose attention do you attract? The attention of paid listeners. Listeners who make you feel that you are an object to be studied, diagnosed, charted and tabulated. Listeners who refer to you as ‘a case’. You don’t have the old woman next door who, on hearing an argument going on between a wife and husband, would come in to slap the husband, telling him off and all that, knowing that her words would be respected because she was old and experienced. (p. 72-73)
Adah reflects on the role of religion in her life in England:
There was no time to go to church and pray. Not in England. It took her years to erase the image of the Nigerian church which usually had a festive air. In England, especially in London, ‘church’ was a big grey building with stained-glass windows, high ornamental ceilings, very cold, full of rows and rows of empty chairs, with the voice of the vicar droning from the distant pulpit, crying like the voice of John the Baptist lost in the wilderness. In London, churches were cheerless.
She could not go to any of them because it made her cry to see such beautiful places of worship empty when, in Nigeria, you could hardly get a seat if you came late. You had to stand outside and follow the service through a microphone. But you were happy through it all, you were encouraged to bellow out the songs-that bellowing took away some of your sorrows. Because most of the hymns seem to be written by psychologists. One was always sure of singing or hearing something that would come near to the problem you had in mind before coming to church. In England you were robbed of such comfort.
London, having thus killed Adah’s congregational God, created instead a personal God who loomed large and really alive. She did not have to go to church to see this One. (p. 164-165)