I remember my grandmother by a lot of things, and when I picture myself in old age, I see myself in her image. Tall, lean, with a slightly curved back, a head full of gray hair that tangles and covers my eyes when being loose. Rheumy eyes set on a dark lean face, hands that are ever generous, and a serious demeanor that resets naughty grandchildren back to their default setting.
Alabi likens this to the little value we place on what we used to have that is free but never allowed ourselves to explore at a new place where we can no longer enjoy that freedom but are happy to explore.
In a lot of ways, ending a year is like ending a poem. Like a poet approaches a finished poem in scrutiny, going over and reading it again, sometimes reading it out loud to hear the rhythm and make sure it flows smoothly, so too do we go over the events of an ending year. But unlike a poem, we cannot remove the words or the lines we feel are obstructing the flow of a year spent. There is no going back to remove a word or insert a new one. There is no changing the events of any moment. There is no altering the flow. There are only the what-ifs.
But life isn't always like poetry, it hardly ever starts from the last stanza. Sometimes, you have no idea if there will be a last stanza at all, or if it will continue in long lines that do not have an end. Like the cliffhangers at the end of thrillers. And these cliffhangers of life... these events that continue to infinity like a recurring decimal, are the parts of life I struggle to deal with. My mind shifts and fidgets endlessly when it goes on a journey that does not seem to have an end.
Born in 1935 in Wheta, Ghana, his works often derived originsfrom his Ewe heritage. He was deeply influenced by African oral literature and sought to preserve the cultural legacy of his people through his writings. His most notable works include Night of My Blood and The House by the Sea which explored various themes associated with the shared African struggles during the decolonisation period.
Your days were no longer short in the university, it was mostly business as usual, but you had your own charms. Like how, when I took lectures at the old campus, I looked forward to you so that I would listen to the khudba and pray the Friday prayers. I loved the silence when the Imam’s voice travelled through the audience. I loved seeing the elderly women, who were regulars at the mosque, dress in their best attires and sit to pray. I loved it when the ladan said “a tsaya, a shiga sahu, a rufe salula, babban dan yatsa a kan layi, rufe salula malam”. I loved the imam’s voice. I always imagined how his lips moved, and his tongue rolled when he recited the Qur’an.
You see yourself putting others before you, shrinking yourself so that you do not take up too much space, so that society does not label you a misfit. You keep going back to the man who has made your skin a gallery of bruises, and whose love you can no longer find in you no matter how hard you look. You tell yourself each day that it is for the kids, for the social security and respect that comes with being married. You look in the mirror sometimes, unable to recognize the you who now cares what society thinks.
Despite the inhuman conditions in which Nigerians now live daily, they have largely remained calm and unable to raise their voices against the conundrum threatening their existence. Paradoxically, people who have been driven to the brim of patience have chosen to remain resolute in their silence, they prefer to mourn each day away hoping a miracle might happen to them.
We laughed. We joked. We lamented. We remembered books and plots and characters. We talked about the creativity that is needed to write a voice driven novel. We talked about A Brief History of Seven Killings, and the distinct voices of the characters. And when we reached Kabuga junction, we hugged and parted. I crossed the road, and took the shortcut through Kofar Kabuga, the old Kofar Kabuga, with its few heaps of sand that survived the wear and tear of time, and a goat, resting on its ancient back.
