Wole Soyinka – författare

Nobel Prize-winner Wole Soyinka’s debut novel tells the story of a group of friends facing political corruption and cultural uncertainty in post-independence Nigeria.Friends since high school, Egbo, Bandele, Sagoe, Sekoni and Kola have returned to Lagos after studying abroad. As they navigate wild parties, affairs of the heart, philosophical debates, and professional dilemmas, they struggle to reconcile the cultural traditions and Western influences that have shaped them – and that still divide their country.In The Interpreters, Soyinka deftly weaves memories of the past through scenes of the present as the friends move toward an uncertain future. The result is a vividly realised fictional world rendered in prose that pivots easily from satire to tragedy. 'No other writer has Soyinka's unique positioning in the political and cultural life of his nation.' Ben Okri 'Wole Soyinka is a Nigerian icon.' Guardian 'Elaborately, strikingly and indeed often beautifully written.' The Times

'Soyinka's greatest novel ... No one else can write such a book' - Ben Okri'A lion of African literature' - Financial Times'Chronicles is many things at once: a caustic political satire, a murder mystery, a conspiracy story and a deeply felt lament for the spirit of a nation' - Juan Gabriel Vásquez, New York TimesA FINANCIAL TIMES AND SPECTATOR BOOK OF THE YEARTo Doctor Menka’s horror, some cunning entrepreneur has decided to sell body parts from his hospital for use in ritualistic practices. Already at the end of his tether from the horrors he routinely sees in surgery, he shares this latest development with his oldest college friend, bon viveur, star engineer and Yoruba royal, Duyole Pitan-Payne, who has never before met a puzzle he couldn’t solve. Neither realise how close the enemy is, nor how powerful.Chronicles from the Land of the Happiest People on Earth is at once a savagely witty whodunit, a scathing indictment of Nigeria’s political elite, and a provocative call to arms from one of the country’s most relentless political activists and an international literary giant.'A high-jinks state-of-the-nation novel' - Chibundu Onuzo'Chronicles is a good model for what the political novel should be: fearless, disdaining formal constraints, sparing no one' - Guardian

Wole Soyinka, winner of the Nobel Prize for Literature and one of the foremost living African writers, here analyses the interconnecting worlds of myth, ritual and literature in Africa. The ways in which the African world perceives itself as a cultural entity, and the differences between its essential unity of experience and literary form and the sense of division pervading Western literature, are just some of the issues addressed. The centrality of ritual gives drama a prominent place in Soyinka's discussion, but he deals in equally illuminating ways with contemporary poetry and fiction. Above all, the fascinating insights in this book serve to highlight the importance of African criticism in addition to the literary and cultural achievements which are the subject of its penetrating analysis.

When Nobel laureate Wole Soyinka''s The Open Sore of a Continent appeared in 1996, it received rave reviews in the national media. Now comes Soyinka''s powerful sequel to that fearless and passionate book, The Burden of Memory. Where Open Sore offered a critique of African nationhood and a searing indictment of the Nigerian military and its repression of human and civil rights, The Burden of Memory considers all of Africa--indeed, all the world--as it poses the next logical question: Once repression stops, is reconciliation between oppressor and victim possible? In the face of centuries long devastations wrought on the African continent and her Diaspora by slavery, colonialism, Apartheid and the manifold faces of racism what form of recompense could possibly be adequate? In a voice as eloquent and humane as it is forceful, Soyinka examines this fundamental question as he illuminates the principle duty and "near intolerable burden" of memory to bear the record of injustice. In so doing, he challenges notions of simple forgiveness, of confession and absolution, as strategies for social healing. Ultimately, he turns to art--poetry, music, painting--as one source that may nourish the seed of reconciliation, art as the generous vessel that can hold together the burden of memory and the hope of forgiveness. Based on Soyinka''s Stewart-McMillan lectures delivered at the Du Bois Institute at Harvard, The Burden of Memory speaks not only to those concerned specifically with African politics, but also to anyone seeking the path to social justice through some of history''s most inhospitable terrain.

The Nigerian writer Wole Soyinka has been hailed as `one of the finest poetic playwrights who have ever written in English' (Martin Esslin) and `a writer of genius' (Irish Times).The five plays in this collection are linked by their concern with the spiritual and the social, with belief and ritual as integrating forces for social cohesion. A Dance of the Forests (1960), a confrontation between the living and the dead, between history and reality; The Swamp Dwellers (1961), a tale of perilous dependence on the favour of the gods; The Strong Breed (1963), a play of expiation, all take place in Africa. So also does The Road (1965), `a rich and beautiful tragedy' (Times Literary Supplement) The most recent work, an adaptation of The Bacchae of Euripides (1973), remains set in and around the Thebes of ancient Greece, but draws deeply on Africa and the themes of the earlier plays in this book. In all these plays - whether concerned with the corruption of urban life or the power of superstition - Soyinka's language and imagination transcend the plays' immediate social contexts.

`The Lion and the Jewel alone is enough to establish Nigeria as the most fertile new source of English-speaking drama since Synge's discovery of the Western Isles.' The TimesThe ironic development and consequences of `progress' may be traced through both the themes and the tone of the works included in this second volume of Wole Soyinka's plays. The Lion and the Jewel shows an ineffectual assault on past tradition soundly defeated. In Kongi's Harvest, however, the pretensions of Kongi's regime are also fatal. The denouement points the way forward. The two Brother Jero plays pursue that way, the comic `propheteering' of the earlier play giving way to the sardonic reality of Jero's Metamorphosis. Madmen and Specialists, Soyinka's most pessimistic play, concerns the physical, mental, and moral destruction of modern civil war.

On November 10, 1995, the Nigerian military government under General Sani Abacha executed dissident writer Ken Saro-Wiwa along with eight other activists, and the international community reacted with outrage. The response was quick, decisive, and nearly unanimous: Nigeria is an outcast in the global village. The events that led up to Saro-Wiwa's execution mark Nigeria's decline from a post-colonial success story to its current military dictatorship, and few writers have been more outspoken in decrying and lamenting this decline than Nobel Prize laureate and Nigerian exile Wole Soyinka.In The Open Sore of a Continent, Soyinka, whose own Nigerian passport was confiscated 1994, explores the history and future of Nigeria in a compelling jeremiad that is as intense as it is provocative, learned, and wide-ranging. He deftly explains the shifting dramatis personae of Nigerian history and politics , arguing that `a glance at the mildewed tapestry of the stubbornly unfinished nation edifice' is necessary to explain where Nigeria can go next. In the process of elucidating the Nigerian crisis, Soyinka opens readers to the broader questions of nationhood, identity, and the general state of African culture and politics at the end of the twentieth century. He examines the different ways in which a nation can be defined, and asks how these varying definitions impact the people who live under them? Soyinka concludes with a resounding call for international attention to this question: the global community must address the issue of nationhood to prevent further religious mandates and calls for ethnic purity of the sort that have turned Algeria, Rwanda, Bosnia, and Sri Lanka into killing fields.

This is one of the best-known plays by Africa's major dramatist, Wole Soyinka.It is set in the Yoruba village of Ilunjinle. The main characters are Sidi (the Jewel), 'a true village belle' and Baroka (the Lion), the crafty and powerful Bale of the village, Lakunle, the young teacher, influenced by western ways, and Sadiku, the eldest of Baroka's wives. How the Lion hunts the Jewel is the theme of this ribald comedy.

When Nobel laureate Wole Soyinka''s The Open Sore of a Continent appeared in 1996, it received rave reviews in the national media. Now comes Soyinka''s powerful sequel to that fearless and passionate book, The Burden of Memory. Where Open Sore offered a critique of African nationhood and a searing indictment of the Nigerian military and its repression of human and civil rights, The Burden of Memory considers all of Africa--indeed, all the world--as it poses the next logical question: Once repression stops, is reconciliation between oppressor and victim possible? In the face of centuries long devastations wrought on the African continent and her Diaspora by slavery, colonialism, Apartheid and the manifold faces of racism what form of recompense could possibly be adequate? In a voice as eloquent and humane as it is forceful, Soyinka examines this fundamental question as he illuminates the principle duty and "near intolerable burden" of memory to bear the record of injustice. In so doing, he challenges notions of simple forgiveness, of confession and absolution, as strategies for social healing. Ultimately, he turns to art--poetry, music, painting--as one source that may nourish the seed of reconciliation, art as the generous vessel that can hold together the burden of memory and the hope of forgiveness. Based on Soyinka''s Stewart-McMillan lectures delivered at the Du Bois Institute at Harvard, The Burden of Memory speaks not only to those concerned specifically with African politics, but also to anyone seeking the path to social justice through some of history''s most inhospitable terrain.

A member of the unique generation of African writers and intellectuals who came of age in the last days of colonialism, Wole Soyinka has witnessed the promise of independence and lived through postcolonial failure. He deeply comprehends the pressing problems of Africa, and, an irrepressible essayist and a staunch critic of the oppressive boot, he unhesitatingly speaks out.

A Nobel laureate offers a keen, thought-provoking analysis of Africa's current crises and points the way to cultural and political renewalA member of the unique generation of African writers and intellectuals who came of age in the last days of colonialism, Wole Soyinka has witnessed the promise of independence and lived through postcolonial failure. He deeply comprehends the pressing problems of Africa, and, an irrepressible essayist and a staunch critic of the oppressive boot, he unhesitatingly speaks out.In this magnificent new work, Soyinka offers a wide-ranging inquiry into Africa's culture, religion, history, imagination, and identity. He seeks to understand how the continent's history is entwined with the histories of others, while exploring Africa's truest assets: "its humanity, the quality and valuation of its own existence, and modes of managing its environment—both physical and intangible (which includes the spiritual)."Fully grasping the extent of Africa's most challenging issues, Soyinka nevertheless refuses defeatism. With eloquence he analyzes problems ranging from the meaning of the past to the threat of theocracy. He asks hard questions about racial attitudes, inter-ethnic and religious violence, the viability of nations whose boundaries were laid out by outsiders, African identity on the continent and among displaced Africans, and more. Soyinka's exploration of Africa relocates the continent in the reader's imagination and maps a course toward an African future of peace and affirmation.

An intimate reflection on culture and tradition, creativity and power, that draws on a lifetime’s commitment to aesthetic encounterThe playwright, poet, essayist, novelist, and Nobel Laureate Wole Soyinka is also a longtime art collector. This book of essays offers a glimpse into the motivations of the collector, as well as a highly personal look at the politics of aesthetics and collecting. Detailing moments of first encounter with objects that drew him in and continue to affect him, Soyinka describes a world of mortals, muses, and deities that imbue the artworks with history and meaning.  Beyond Aesthetics is a passionate discussion of the role of identity, tradition, and originality in making, collecting, and exhibiting African art today. Soyinka considers objects that have stirred controversy, and he decries dogmatic efforts—whether colonial or religious—to suppress Africa’s artistic traditions. By turns poetic, provocative, and humorous, Soyinka affirms the power of collecting to reclaim tradition. He urges African artists, filmmakers, collectors, and curators to engage with their aesthetic and cultural histories.Published in association with the Hutchins Center for African & African American Research

The first African to receive the Nobel Prize in Literature, as well as a political activist of prodigious energies, Wole Soyinka now follows his modern classic Ake: The Years of Childhood with an equally important chronicle of his turbulent life as an adult in (and in exile from) his beloved, beleaguered homeland.In the tough, humane, and lyrical language that has typified his plays and novels, Soyinka captures the indomitable spirit of Nigeria itself by bringing to life the friends and family who bolstered and inspired him, and by describing the pioneering theater works that defied censure and tradition. Soyinka not only recounts his exile and the terrible reign of General Sani Abacha, but shares vivid memories and playful anecdotes–including his improbable friendship with a prominent Nigerian businessman and the time he smuggled a frozen wildcat into America so that his students could experience a proper Nigerian barbecue.More than a major figure in the world of literature, Wole Soyinka is a courageous voice for human rights, democracy, and freedom. You Must Set Forth at Dawn is an intimate chronicle of his thrilling public life, a meditation on justice and tyranny, and a mesmerizing testament to a ravaged yet hopeful land.From the Hardcover edition.

Based on events that took place in Oyo, an ancient Yoruba city of Nigeria, in 1946, Wole Soyinka's powerful play concerns the intertwined lives of Elesin Oba, the king's chief horseman; his son, Olunde, now studying medicine in England; and Simon Pilkings, the colonial district officer. The king has died and Elesin, his chief horseman, is expected by law and custom to commit suicide and accompany his ruler to heaven. The stage is set for a dramatic climax when Pilkings learns of the ritual and decides to intervene and Elesin's son arrives home.

Wole Soyinka has translated—in both language and spirit—a great classic of ancient Greek theater. He does so with a poet's ear for the cadences and rhythms of chorus and solo verse as well as a commanding dramatic use of the central social and religious myth. In his hands The Bacchae becomes a communal feast, a tumultuous celebration of life, and a robust ritual of the human and social psyche. "The Bacchae is the rites of an extravagant banquet, a monstrous feast," Soyinka writes. "Man reaffirms his indebtedness to earth, dedicates himself to the demands of continuity, and invokes the energies of productivity. Reabsorbed within the communal psyche he provokes the resources of nature; in turn he is replenished for the cyclic rain in his fragile individual potency." The blending of two master playwrights—Euripides and Soyinka—makes for an unforgettable experience.

"Unquestionably Africa's most versatile writer and arguably one of her finest" (New York Times Book Review) These hilarious and vicious two plays examine the corruption of Nigerian society through a study of the rise and fall of one of its self-made charismatic preachers."Wole Soyinka's Nobel Prize for Literature is a triumphant affirmation of the universality of this novelist, poet, film-maker and political activist." (Guardian)

Elesin Oba, the King's Horseman, has a single destiny. When the King dies, he must commit ritual suicide and lead his King's favourite horse and dog through the passage to the world of the ancestors. A British Colonial Officer, Pilkings, intervenes to prevent the death and arrests Elesin. The play is a set text for NEAB GCSE, NEAB A Level and NEAB A/S Level. 'A masterpiece of 20th century drama' - Guardian "A transfixing work of modern world drama" (Independent); "clearly a masterpiece. . . he achieves the full impact of Greek tragedy" (Irving Wardle, Independent on Sunday); "the action of the play is as inevitable and eloquent as in Antigone: a clash of values and cultures so fundamental that tragedy issues: a tragedy for each individual, each tribe" (Michael Schmidt, Daily Telegraph)

Six masterful works by the Nobel Prize-winning Nigerian playwright. Death and the King's Horseman: 'A transfixing work of modern world drama' (Independent); Madmen and Specialists: 'A luminous play, examining the way in which war exposes and clarifies human conduct' (Observer); Opera Wonyosi, adapted from Gay's The Beggar's Opera: 'Swaggering and scabrous, at once a verbal spree and a fierce assault on totalitarianism' (Observer). The volume also contains The Trials of Brother Jero and Jero's Metamorphosis, classic comedies of modern Nigerian life based on the hilarious and manipulative transformations of a preacher, and Camwood on the Leaves, a haunting radio play, which evokes a divided community.

"Unquestionably Africa's most versatile writer and arguably one of her finest." (New York Times Book Review) When the Military decrees that a crime carrying a prison sentence now retroactively warrants summary execution, confusion and fear permeate a society where the brutality and injustice of military rule is parodied by life inside prison. Based on events in Nigeria in the early 1980s Wole Soyinka's stage play From Zia with Love and radio play A Scourge of Hyacinths, were produced in the early 90s when the writer was exiled by Sani Abacha's notorious and unjust military regime.

Set in Nigeria, amid the scenes of everyday racketeering and general disquiet, the police try to clear the area of undersirables, as a traditional wedding between two illustrious and ambitious families is about to take place.'Witty, wise and uplifting, this is a beautiful play whose message steals up on you and lingers on.' Financial Times.'The play is a protest against the barbarity of greed and oppression; but it is also a celebration of people's irrepressible and indomitable spirit' Sunday Times.

"The action of the play is as inevitable and eloquent as in Antigone: a clash of values and cultures so fundamental that tragedy issues: a tragedy for each individual, each tribe" Daily Telegraph"This play, by the winner of a Nobel Prize for Literature, asks: 'On the authority of what gods' the white aliens rupture the world. It puts exciting political theatre back on the agenda. . . a masterpiece of 20th century drama" Guardian Elesin Oba, the King's Horseman, has a single destiny. When the King dies, he must commit ritual suicide and lead his King's favourite horse and dog through the passage to the world of the ancestors. A British Colonial Officer, Pilkings, intervenes.This edition features an interview with the author.Commentary and notes by Jane Plastow

The only current anthology to survey the rich variety of contemporary African drama The plays included in this volume are: Death and the King's Horseman by Wole Soyinka; Anowa by Ama Ata Aidoo; The Chattering and the Song by Femi Osofisan; The Rise and Shine of Comrade Fiasco by Andrew Whaley; Woza Albert! by Percy Mtwa, Mbongeni Ngema and Barney Simon; and The Other War by Alemseged Tesfai.Contemporary African Drama brings together some of the best writers writing from an African viewpoint today.

"Unquestionably Africa's most versatile writer and arguably one of her finest" (New York Times Book Review) A Play of Giants is a savage satire on some of the best-known dictators of our time (including Idi Amin); it brings together a group of dictatorial African leaders at bay in an embassy in New York attempting to make decisions together. Its theatrical predecessors include: Genet's The Balcony and Brecht's Arturo Ui. From Zia with Love and A Scourge of Hyacinths; When the Military decrees that a crime carrying a prison sentence now retroactively warrants summary execution, confusion and fear permeate a society where the brutality and injustice of military rule is parodied by life inside prison - based on events in Nigeria in the early 1980s Wole Soyinka's stage play From Zia with Love and radio play A Scourge of Hyacinths, were produced in the early 90s.

The keenly awaited new play from the Nobel prize-winner A naked satire on the rule of General Abacha in Nigeria, the play chronicles the debauched rule of General Basha Bash who takes power in a coup and exchanges his general's uniform for a robe and crown re-christening himself King Baabu. In the manner of Alfred Jarry's Ubu Roi, Soyinka develops a special childish language for his cast of characters who have names like Potipoo and General Uzi. Weaving together burlesque comedy, theatrical excess and storytelling, King Baabu has already been coined as a pet name for the despot par excellence. "We turn Guatu into kingdom, ruled by kings. Nobody complain any more. General Basha Bash is dead. Long Live King Baabu."