The Day Ali Mazrui Melted Down

For many scholars of African literature, Ali Mazrui was an outsider who crashed into the African literature party on the wings of Christopher Okigbo. His one and only novel, The Trial of Christopher Okigbo, made him a factor in literary discourse.

With notoriety comes despise. Mazrui is so despised that more scholars are not on talking terms with him than those who are.

But Mazrui, Albert Schweitzer Professor in the Humanities at Binghamton University , New York , continues to solider on. He fights hard to keep himself relevant. And he seems to be enjoying the attention.

It was not a wonder that he was featured at the Okigbo International Conference as a keynote speaker on Saturday, September 22, 2007. In an event billed to celebrate the life of the fallen poet, Mazrui played the role of the man brought in to present an opposing view critical of the poet for daring to die fighting for Biafra .

To some, Mazrui is a devil’s advocate. But to others, he is the devil himself.

Mazrui knew this and began his speech with an appeal to people to hear him out because he was going to say things controversial. For scholars familiar with the place of opposing views in literary life, Mazrui was indulged. If some were preparing to pounce on him after his speech, it was not to happen for the man broke down in tears.

These are the things we learnt from Mazrui’s presentation:

Ali Mazrui was on the side of the federal government during the Biafran war. He said that he wrote the novel, The Trial of Christopher Okigbo as a tribute to a martyr who died for a cause he, Mazrui, did not believe in.

According to Mazrui, he was at the brink of a nervous break down following the death of his friend when he wrote the novel. “It was private anguish, publicized,” he said. “It was the first time I consulted a psychotherapist.”

He said he chose to engage the poet in fiction because in his Swahili culture great moments of anguish are reflected in poetry. He gave an example of when his two children went blind and he received poems from his compatriots.

When Mazrui submitted the manuscript to Chinua Achebe, who was the editor of Heinemann’s African Writers Series, he wondered if Achebe would “recognize the hostility to Biafra and my love for the Igbo.”

Achebe, he noted, rose to the occasion when he accepted the manuscript. Achebe told him the novel started very slowly and asked him to get rid of the early part. Those Mazrui said were written “in the grip of my deepest psychological stress.”

In the novel, Mazrui found those who opposed Biafra ‘not guilty.’ He found those non-Igbo who supported Biafra ‘guilty.’ As for the Igbo, he declared the charges against them ‘not proved.’

In his paper, The Muse and the Martyr in Africa’s Experience: Christopher Okigbo in Comparative Perspective,” Mazrui accused Okigbo of subordinating his genius to parochial goals by acting as an Igbo first and a poet second. “Did Okigbo sacrifice the universality of his genius to his parochial interest?” he asked. He described Okigbo’s poetry as “the voice of universality heard from a village boy.” Okigbo’s death Mazrui said was “a case of promise cut short. A symphony interrupted.”

Mazrui wondered, “if he (Okigbo) had continued to write as he did and lived to be 80, he would have been a good poet, a brilliant one, but not immortal. If he had lived to be 80, he would have beaten Wole Soyinka to the Nobel Prize but he would not have been recognized amongst the immortal.”

Then he submitted that “violent death is a path to immortality.” Okigbo’s beauty he stated was “beauty that death enhanced.”

Mazrui recognized that Okigbo’s death raised wider questions about justice. But he believed that such questions should be subjugated to the mission of the individual. He asked, “Should a gifted human being have a right to sacrifice himself?” He then propounded that, “all lives are sacred but some are more sacred than others.”

When not lost in what has been called ‘the understanding of his confusion,’ Mazrui appeared ‘lost in the confusion of his understanding.’ On one hand he questioned why Okigbo who rejected the first African poetry award at Dakar ’s Festival of Arts and Culture because he considered himself a universal poet and not an African poet, would pick up arms for Biafra . On the other hand, he questioned the concept of the European nation state handed down to Africans. “Political Africa ,” he said, “has been in denial of the tribality of its essence.”

He called Nigeria “a work of art in painful progress.” Okigbo’s martyrdom he said, “is a challenge to Africa to explore a better alternative. “If he (Okigbo) had survived Biafra , Mazrui wondered, “would he have been an anti-war poet?”

Then, the professor of political science, African studies and philosophy, interpretation and culture, paused.

“I will now have a word with Chris,” said Mazrui as he rounded up his speech. “you may eavesdrop if you wish.”

He cleared his throat and began:

“Chris, the same forces of violence which killed you in the war front on October 1967 killed my future father-in-law in the anti-Igbo pogrom almost a year before you were killed…”

Then his voice began to break until it totally cracked up. For few minutes, he simply sobbed.

Thompson Hall was calm like a frozen anthill. “I’ll be okay,” he said as he took time to gather himself.

“Your poem is not finished, Christopher,” he concluded. “Your poem is not finished. You are awake in the altar today.”

*********************************************************************************

Subsequent presenters like Ihechukwu Madubuike and Herbert Ekwe-Ekwe ridiculed Mazrui’s position as that of a man who has not found himself or anything worth living for or for that matter, dying for, and has continued to define who he is from the prism of others.

In concluding this report, I will like to give a special recognition to Obiageli Okigbo, the daughter of Christopher Okigbo, who founded the Okigbo Foundation that made the conference possible. She is a pacesetter in a world where children of great men and women show no appreciation of the work their parents did or any interest in keeping their memories alive. By letting great men die, we deprive our world of role models. And heaven knows how much we need them in this world of Chris/Andy Uba.

Oby, jide ka iji. Always remember that Daddy’s poem is not finished. It will never finish as long as you keep the light shining. See you in Brussels .

********************************************************************************

Rudolf Ogoo Okonkwo is the author of Children of a Retired God.

Robot  Villager

# 1 In his paper, The...Read the full article. Posted by Robot| 05.10.2007 09:29

igwe  Villager

# 2 Great job, Ogoo. This is a running account of what happened. You made some of us who weren't at the occasion feel amply compensated. It will be well with you. Whatever Mazrui got by way of ridicule, he has been asking for it for a very long time. Posted by igwe| 05.10.2007 11:29

Oguguo Yakere  Villager

# 3 Mazrui comes across as a religious fanatic who readily justifies acrimonious activities of people who share the same religion with him. His ignorance, yet self presumed knowledge of the issues among the peoples of Nigeria is most disgusting. Thank goodness that he sounds retractive of those erroneous utterances he made in the past. Or may be he found himself on the spot among Ndigbo who supposedly were majority in the croud. Posted by Oguguo Yakere| 05.10.2007 22:04

Chief Kalu  Villager

# 4 =Robot;20916985>In his paper, The...Read the full article. Nigeria: A work of arts in paiful progress-A very slow progress at that.One step foward, three steps backward. We are making real progress in learning, in arts, in literary works.in economics and industry. But in politics am not sure if our leaders are not getting better in greed and selfishness. Well, I love being optimistic. The new president might do better! The Igbo nation is evolving, freedom day will surely come soon. As soon as all our Ofeke leaves the dance floor for more honourable umuafor.:cool: Posted by Chief Kalu| 06.10.2007 09:19

Aristarchy  Villager

# 5 This Okonkwo man and his penchant for abuse. Never focusing on main issues of Mazrui. Is this the time for emotional condemnations ? This Okonkwo fella, Read his previous postings, you will understand he too is an Igbo first, Nigerian Second. Stop hiding under unnecesary ethnic umbrella. We know who you are Posted by Aristarchy| 06.10.2007 14:10

jessebay  JJC

# 6 I Think i like this guy's line of thinking and writing style. He's got some energy radiating from his thoughts. I don't know what some guys are ranting about here. None of us descended from the skies just like that. We're born into a family that speaks a certain kind of tongue and from a particular tribe. We don't chose this, and i believe that's one of the most treasured gifts you can get here on earth. So, i believe a good Nigerian must be first a good Igbo or from whatever tribe you come from. I am Yoruba and i believe that i can only be a better Nigerian if i am at peace with who i am before joining a union fashioned by mere men, white colonialists called Nigeria. You see, your tribe is God's gift. Your country is men's Greek gift to men. So here we are with Nigeria, we need to make a success of it. But only from the point of 'who' we really are. True and real Igbo culture is adorable, rich and great. No 419 or Excessive love of Filthy Lucre from the beginning. Just like Yoruba or Hausa or any of the 300 cultures found in Nigeria. If we all remain true to our traditional moral mores, Nigeria will be the best country, just like the Japanese. It is not the tradition of our elders no matter the tribe, to be shameless like Etteh and her unwieldy mates in Abuja or Andy/Chris Uba or Kingibe. Go on Igbo guys! You need to be a true Igbo man/woman to be truely Nigerian. Ditto for all the other tribes. You must know your roots and respect it. Thanks Posted by jessebay| 15.10.2007 15:25