November 19, 2012
As a friend reminded me when I put a call out for Ghanaian suggestions on Facebook, Ghanaian literature has been part of my life almost since the beginning. I can still remember the Anansi tales being read to me in my first years of school, as we all sat cross-legged on the floor in front of the teacher at story time.
As an adult, however, I’ve not kept up with literature from the country, so when I found details of Journey by Dr Gheysika Adombire Agambila on the Writers Project of Ghana website, I had no means of knowing whether the novel was likely to be any good. I couldn’t help being a bit put off by the rather lack-lustre design of the book jacket, which features footprints going across sand under a weirdly beige sky. Alright, so we all know you shouldn’t judge a book by its cover, but when you haven’t got much else to go on, it’s hard not to look for clues somewhere. On the strength of what I could see in front of me, I was tempted to stick with the first suggestion on my list, Ayi Kwei Armah’s The Beautyful Ones Are Not Yet Born, which, the internet told me, was likely to be good and, by the way, has a fabulous cover.
But Armah’s classic was published in 1968. Surely I should try to read something a little more contemporary if I could?
Then I noticed that Journey was championed by the African Books Collective, which has delivered a series of good reads to this project throughout the year. Maybe there was more to this 2006 novel than met the eye?
Journey recounts the coming of age of Amoah, a teenage school leaver keen to make his mark on the world. Sex and girls are high on the adolescent’s list, as are going to live with his uncle and getting a job in Accra, far away from his grandfather’s traditional village. But as reality bites, Amoah begins to lose his prefect’s swagger and realise there is more to life in contemporary Ghana than his neo-colonialist boarding school could hope to prepare him for.
This is a book that thrives on oppositions. Whether he’s pitting old against young, educated against illiterate, rich against poor, Christian against Muslim, male against female, or science against superstition, Agambila delights in testing the boundaries of ideologies and cultural mores by letting them fight it out in the arena of his narrative.
Humour is the biggest weapon in his arsenal. From sharp, language-based jokes, such as the unfortunate Schola’s letter to Amoah at ‘sukool’, in which she tries to make him see that they are ‘swimming in the same boat’, to killer one-liners – the observation, for example, that ‘if acne affected older people, they would have found a cure for it by now’ – Agambila makes great comic capital out of his material. Amoah is at the heart of this. Filled with the arrogance of youth and yet touchingly naive, he is forever coming a cropper in his desire to ‘take advantage of promising situations': drinking himself silly instead of intoxicating the girl he hopes to seduce, lending money to a friend who will not pay it back, and finding his plans scuppered by the systems of a society he has not yet taken the time to understand.
This vulnerability makes Amoah very likeable and gives Agambila leverage to tackle some of the book’s more challenging themes, such as the long shadow that British rule has cast upon the country. Many of these struggles play out in Amoah’s mind as we see him scorning the ‘hopeless bush students’ at his school and reflecting that a porter is ‘so strong he would have fetched enough money to build a house and marry several wives in the days when humans were bought and sold’, but becoming furious at his grandfather’s nostalgia for colonial rule. Similarly, while he sneers at the traditions and beliefs of the villagers in Tinga, Amoah is unable to help superstitions about witches creeping into his mind when he walks out late at night. Educated to be disdainful and distrustful of the culture he is rooted in, he struggles to find a way to assimilate the contradictions within him, playing out a national drama on a personal level.
At times the pacing can be problematic. Agambila has a tendency to put us in scenes and keep us there in real time. While this works brilliantly with comic set pieces such as the dance Amoah attends at the hotel near his school, it becomes less compelling when it comes to descriptions of the hero’s bathing rituals. In addition, the latter half of the narrative could do with some tightening to keep the momentum up right to the end.
On the whole, though, there is a lot to like in this book. Sharp, funny and insightful, it is an enjoyable and thought-provoking read – a worthy successor to the crown of Anansi in the kingdom of my imagination.
Journey by Gheysika Adombire Agambila (Sub-Saharan Publishers, 2006)