"Wole" Soyinka

 

"Wole" Soyinka

Akinwande Oluwole Babatunde "Wole" Soyinka  [wɔlé ʃójĩnká]; born 13 July 1934) is a Nigerian playwright, novelist, poet, and essayist in the English language. He was awarded the 1986 Nobel Prize in Literature for his "wide cultural perspective and... poetic overtones fashioning the drama of existence", the first sub-Saharan African to win the Prize in literature.

In July 2024, President Bola Tinubu renamed the National Arts Theatre in Iganmu, Lagos, after Soyinka. Tinubu announced this in a tribute he wrote to celebrate Soyinka in commemoration of his 90th birthday.

Introduction:

Soyinka was born into a Yoruba family in Abeokuta, Nigeria. In 1954, he attended Government College in Ibadan, and subsequently University College Ibadan and the University of Leeds in England. After studying in Nigeria and the UK, he worked with the Royal Court Theatre in London. He took an active role in Nigeria's political history and its campaign for independence from British colonial rule. In 1965, he seized the Western Nigeria Broadcasting Service studio and broadcast a demand for the cancellation of the Western Nigeria Regional Elections. In 1967, during the Nigerian Civil War, he was arrested by the federal government of General Yakubu Gowon and put in solitary confinement for two years, for volunteering to be a non-government mediating actor.

Soyinka has been a strong critic of successive Nigerian (and African at large) governments, especially the country's many military dictators, as well as other political tyrannies, including the Mugabe regime in Zimbabwe. Much of Soyinka's writing is concerned with "the oppressive boot and the irrelevance of the color of the foot that wears it". During the regime of General Sani Abacha (1993–98), Soyinka escaped from Nigeria on a motorcycle via the Benin border. Abacha later proclaimed a death sentence against him "in absentia".  With civilian rule restored to Nigeria in 1999, Soyinka returned there.

From 1975 to 1999, Soyinka had been Professor of Comparative Literature (1975–1999) at Obafemi Awolowo University, then called the University of Ifẹ̀, and in 1999, he was made professor emeritus. While in the United States, he taught at Cornell University as Goldwin Smith professor for African Studies and Theatre Arts from 1988 to 1991 and then at Emory University, where in 1996 he was appointed Robert W. Woodruff Professor of the Arts. He has been a Professor of Creative Writing at the University of Nevada, Las Vegas, and has served as scholar-in-residence at New York University's Institute of African American Affairs and at Loyola Marymount University in Los Angeles, California. He has also taught at the universities of Cambridge, Oxford, Harvard , and Yale, and was a Distinguished Scholar in Residence at Duke University in 2008.

In December 2017, Soyinka received the Europe Theatre Prize in the "Special Prize" category, awarded to someone who has "contributed to the realization of cultural events that promote understanding and the exchange of knowledge between peoples".

 Family:

A descendant of the rulers of Isara, Soyinka was born the second of his parents' seven children, in the city of Abẹokuta, Nigeria. His siblings were Atinuke "Tinu" Aina Soyinka, Femi Soyinka, Yeside Soyinka, Omofolabo "Folabo" Ajayi-Soyinka and Kayode Soyinka. His father, Samuel Ayodele Soyinka (whom he called S.A. or "Essay"), was an Anglican minister and the headmaster of St. Peters School in Abẹokuta. Having solid family connections, the elder Soyinka was a cousin of the Odemo, or King, of Isara-Remo Samuel Akinsanya, a founding father of Nigeria. Soyinka's mother, Grace Eniola Soyinka (née Jenkins-Harrison) (whom he dubbed the "Wild Christian"), owned a shop in the nearby market.

Soyinka grew up in a religious atmosphere of syncretism, with influences from both cultures. He was raised in a religious family, attending church services and singing in the choir from an early age; however, Soyinka himself became an atheist later in life. His father's position enabled him to get electricity and radio at home. He writes extensively about his childhood in his memoir Aké: The Years of Childhood (1981).

Among Soyinka's first cousins were the musician Fela Kuti, the human rights activist Beko Ransome-Kuti, politician Olikoye Ransome-Kuti and activist Yemisi Ransome-Kuti.^[27] His second cousins include musicians Femi Kuti and Seun Kuti, and dancer Yeni Kuti. His younger brother Femi Soyinka became a medical doctor and a university professor.

Literary career:

In 1940, after attending St. Peter's Primary School in Abeokuta, Soyinka went to Abeokuta Grammar School, where he won several prizes for literary composition. 

In 1946 he was accepted by Government College in Ibadan, at that time one of Nigeria's elite secondary schools. After finishing his course at Government College in 1952, he began studies at University College Ibadan (1952–54), affiliated with the University of London. He studied English literature, Greek, and Western history. Among his lecturers was Molly Mahood, a British literary scholar. 

In the year 1953–54, his second and last at University College, Soyinka began work on Keffi's Birthday Treat, a short radio play for Nigerian Broadcasting Service that was broadcast in July 1954.While at university, Soyinka and six others founded the Pyrates Confraternity, an anti-corruption and justice-seeking student organization, the first confraternity in Nigeria.

Later in 1954, Soyinka relocated to England, where he continued his studies in English literature, under the supervision of his mentor Wilson Knight at the University of Leeds (1954–57). He met numerous young, gifted British writers.

Before defending his B.A. degree, Soyinka began publishing and working as editor for a satirical magazine called The Eagle; he wrote a column on academic life, in which he often criticised his university peers.

 Early career:

After graduating with an upper second-class degree, Soyinka remained in Leeds and began working on an MA. He intended to write new works combining European theatrical traditions with those of his Yorùbá cultural heritage. His first major play, The Swamp Dwellers (1958), was followed a year later by The Lion and the Jewel, a comedy that attracted interest from several members of London's Royal Court Theatre. Encouraged, Soyinka moved to London, where he worked as a play reader for the Royal Court Theatre. During the same period, both of his plays were performed in Ibadan. They dealt with the uneasy relationship between progress and tradition in Nigeria.

In 1957, his play The Invention was the first of his works to be produced at the Royal Court Theatre. At that time his only published works were poems such as "The Immigrant" and "My Next Door Neighbour", which were published in the Nigerian magazine Black Orpheus. This was founded in 1957 by the German scholar Ulli Beier, who had been teaching at the University of Ibadan since 1950.

Soyinka received a Rockefeller Research Fellowship from University College in Ibadan, his alma mater, for research on African theatre, and he returned to Nigeria. After its fifth issue (November 1959), Soyinka replaced Jahnheinz Jahn to become coeditor for the literary periodical Black Orpheus (its name derived from a 1948 essay by Jean-Paul Sartre, "Orphée Noir", published as a preface to Anthologie de la nouvelle poésie nègre et malgache, edited by Léopold Senghor). He produced his new satire, The Trials of Brother Jero in the dining-hall at Mellanby Hall of University College Ibadan, in April 1960.That year, his work A Dance of The Forest, a biting criticism of Nigeria's political elites, won a contest that year as the official play for Nigerian Independence Day.

Soyinka wrote the first full-length play produced on Nigerian television. Entitled My Father's Burden and directed by Segun Olusola, the play was featured on the Western Nigeria Television (WNTV) on 6 August 1960.

 Soyinka published works satirising the "Emergency" in the Western Region of Nigeria, as his Yorùbá homeland was increasingly occupied and controlled by the federal government.

With the Rockefeller grant, Soyinka bought a Land Rover, and he began travelling throughout the country as a researcher with the Department of English Language of the University College in Ibadan.

In an essay of the time, he criticised Leopold Senghor's Négritude movement as a nostalgic and indiscriminate glorification of the black African past that ignores the potential benefits of modernisation.

He is often quoted as having said, "A tiger doesn't proclaim his tigritude, he pounces." But in fact, Soyinka wrote in a 1960 essay for the Horn: "the duiker will not paint 'duiker' on his beautiful back to proclaim his duikeritude; you'll know him by his elegant leap." In Death and the King's Horsemen he states: "The elephant trails no tethering-rope; that king is not yet crowned who will peg an elephant."

In December 1962, Soyinka's essay "Towards a True Theater" was published in Transition Magazine. He began teaching with the Department of English Language at Obafemi Awolowo University in Ifẹ.

 At the end of 1963, his first feature-length movie, Culture in Transition, was released. In 1965, his book The Interpreters, "a complex but also vividly documentary novel", was published in London by André Deutsch.

In December 1963, together with scientists and men of theatre, Soyinka founded the Drama Association of Nigeria.

In 1964 he also resigned his university post, as a protest against imposed pro-government behaviour by the authorities.

A few months later, in 1965, he was arrested for the first time, charged with holding up a radio station at gunpoint (as described in his 2006 memoir You Must Set Forth at Dawn) and replacing the tape of a recorded speech by the premier of Western Nigeria with a different tape containing accusations of election malpractice. Soyinka was released after a few months of confinement, as a result of protests by the international community of writers.

This same year he wrote two more dramatic pieces: Before the Blackout and the comedy Kongi's Harvest. He also wrote The Detainee, a radio play for the BBC in London. His play The Road premiered in London at the Commonwealth Arts Festival, opening on 14 September 1965, at the Theatre Royal. At the end of the year, he was promoted to headmaster and senior lecturer in the Department of English Language at the University of Lagos.

In April 1966, his play Kongi's Harvest was produced in revival at the World Festival of Negro Arts in Dakar, Senegal.

In June 1965, his play The Trials of Brother Jero was produced at the Hampstead Theatre Club in London, and in December 1966 The Lion and the Jewel was staged at the Royal Court Theatre.^[57][58]

Civil war and imprisonment:

After becoming Chair of Drama at the University of Ibadan, Soyinka became more politically active. Following the military coup of January 1966, he secretly met with Chukwuemeka Odumegwu Ojukwu, the military governor in the Southeastern Nigeria in an effort to avert the Nigerian civil war.

He was later arrested by federal authorities and imprisoned for 22 months, as civil war ensued between the Federal government of Nigeria and the secessionist state of Biafra. He wrote a significant body of poems and notes criticising the Nigerian government while in prison.

Despite his imprisonment, his play The Lion and The Jewel was produced in Accra, Ghana, in September 1967.

In November that year, The Trials of Brother Jero and The Strong Breed were produced in the Greenwich Mews Theatre in New York City.

Soyinka also published a collection of his poetry, Idanre and Other Poems, which was inspired by his visit to the sanctuary of the Yorùbá deity Ogun, whom he regards as his "companion" deity, kindred spirit, and protector.

In 1968, the Negro Ensemble Company in New York produced Kongi's Harvest. While still imprisoned, Soyinka translated from Yoruba a fantastical novel by his compatriot D. O. Fagunwa, entitled The Forest of a Thousand Demons: A Hunter's Saga.

Two films about this period of his life have been announced: The Man Died, directed by Awam Amkpa, a feature film based on a fictionalized form of Soyinka's 1973 prison memoirs of the same name; and Ebrohimie Road, written and directed by Kola Tubosun, which takes a look at the house where Soyinka lived between 1967 – when he arrived back in Ibadan to take on the directorship of the School of Drama – and 1972, when he left for exile after being released from prison.

Release and literary production:

In October 1969, when the civil war came to an end, amnesty was proclaimed, and Soyinka and other political prisoners were freed.

For the first few months after his release, Soyinka stayed at a friend's farm in southern France, where he sought solitude. He wrote The Bacchae of Euripides (1969), a reworking of the Pentheus myth. He soon published in London a book of poetry, Poems from Prison. At the end of the year, he returned to his office as Chair of Drama at Ibadan.

In 1970, he produced the play Kongi's Harvest, while simultaneously adapting it as a film of the same title.

In June 1970, he finished another play, called Madmen and Specialists.Together with the group of 15 actors of Ibadan University Theatre Art Company, he went on a trip to the United States, to the Eugene O'Neill Memorial Theatre Center in Waterford, Connecticut, where his latest play premiered. It gave them all experience with theatrical production in another English-speaking country.

In 1971, his poetry collection A Shuttle in the Crypt was published. Madmen and Specialists was produced in Ibadan that year. Soyinka travelled to Paris to take the lead role as Patrice Lumumba, the murdered first Prime Minister of the Republic of the Congo, in the production of Murderous Angels, Conor Cruise O'Brien's play about the Congo Crisis.

In April 1971, concerned about the political situation in Nigeria, Soyinka resigned from his duties at the University in Ibadan, and began years of voluntary exile. In July in Paris, excerpts from his well-known play The Dance of The Forests were performed.

In 1972, his novel Season of Anomy and his Collected Plays were both published by Oxford University Press.

 His powerful autobiographical work The Man Died, a collection of notes from prison, was also published that year. He was awarded an Honoris Causa doctorate by the University of Leeds in 1973.

 In the same year the National Theatre, London, commissioned and premiered the play The Bacchae of Euripides, and his plays Camwood on the Leaves and Jero's Metamorphosis were also first published.

From 1973 to 1975, Soyinka spent time on scientific studies.  He spent a year as a visiting fellow at Churchill College, Cambridge University  and wrote Death and the King's Horseman, which had its first reading at Churchill College.

In 1974, his Collected Plays, Volume II was issued by Oxford University Press.

In 1975, Soyinka was promoted to the position of editor for Transition Magazine, which was based in the Ghanaian capital of Accra, where he moved for some time. He used his columns in the magazine to criticise the "negrophiles" (for instance, his article "Neo-Tarzanism: The Poetics of Pseudo-Transition") and military regimes.

After the political turnover in Nigeria and the subversion of Gowon's military regime in 1975, Soyinka returned to his homeland and resumed his position as Chair of Comparative Literature at the University of Ife.

In 1976, he published his poetry collection Ogun Abibiman, as well as a collection of essays entitled Myth, Literature and the African World. In these, Soyinka explores the genesis of mysticism in African theatre and, using examples from both European and African literature, compares and contrasts the cultures.

He delivered a series of guest lectures at the Institute of African Studies at the University of Ghana in Legon. In October, the French version of The Dance of The Forests was performed in Dakar, while in Ife, his play Death and The King's Horseman premièred.

In 1977, Opera Wọnyọsi, his adaptation of Bertolt Brecht's The Threepenny Opera, was staged in Ibadan.

In 1979 he both directed and acted in Jon Blair and Norman Fenton's drama The Biko Inquest, a work based on the life of Steve Biko, a South African student and human rights activist who was beaten to death by apartheid police forces.

In 1981 Soyinka published his autobiographical work Aké: The Years of Childhood, which won a 1983 Anisfield-Wolf Book Award.

Soyinka founded another theatrical group called the Guerrilla Unit. Its goal was to work with local communities in analyzing their problems and to express some of their grievances in dramatic sketches.

In 1983 his play Requiem for a Futurologist had its first performance at the University of Ife. In July, one of his musical projects, the Unlimited Liability Company, issued a long-playing record entitled I Love My Country, on which several prominent Nigerian musicians played songs composed by Soyinka.

In 1984, he directed the film Blues for a Prodigal, which was screened at the University of Ife. His A Play of Giants was produced the same year.

During the years 1975–84, Soyinka was more politically active. At the University of Ife, his administrative duties included the security of public roads. He criticized the corruption in the government of the democratically elected President Shehu Shagari. When he was replaced by the army general Muhammadu Buhari, Soyinka was often at odds with the military.

In 1984, a Nigerian court banned his 1972 book The Man Died: Prison Notes. 

In 1985, his play Requiem for a Futurologist was published in London by Rex Collings.

Since 1986:

Soyinka was awarded the Nobel Prize for Literature in 1986, becoming the first African laureate. He was described as one "who in a wide cultural perspective and with poetic overtones fashions the drama of existence". Reed Way Dasenbrock writes that the award of the Nobel Prize in Literature to Soyinka is "likely to prove quite controversial and thoroughly deserved".

He also notes that "it is the first Nobel Prize awarded to an African writer or to any writer from the 'new literatures' in English that have emerged in the former colonies of the British Empire."  His Nobel acceptance speech, "This Past Must Address Its Present", was devoted to South African freedom-fighter Nelson Mandela. Soyinka's speech was an outspoken criticism of apartheid and the politics of racial segregation imposed on the majority by the National South African government.

 In 1986, he received the Agip Prize for Literature.

In 1988, his collection of poems Mandela's Earth, and Other Poems was published, while in Nigeria another collection of essays, entitled Art, Dialogue and Outrage: Essays on Literature and Culture, appeared.

In the same year, Soyinka accepted the position of Professor of African Studies and Theatre at Cornell University.

 In 1989, a third novel, inspired by his father's intellectual circle, Ìsarà: A Voyage Around Essay, appeared.

In July 1991 the BBC African Service transmitted his radio play A Scourge of Hyacinths, and the next year (1992) in Siena (Italy), his play From Zia with Love had its premiere. Both works are very bitter political parodies, based on events that took place in Nigeria in the 1980s.

 In 1993 Soyinka was awarded an honorary doctorate from Harvard University. The following year, another part of his autobiography appeared: Ibadan: The Penkelemes Years (A Memoir: 1946–1965).

In 1995, his play, The Beatification of Area Boy, was published. In October 1994, he was appointed UNESCO Goodwill Ambassador for the Promotion of African culture, human rights, freedom of expression, media and communication.

In November 1994, Soyinka fled from Nigeria on a motorcycle via the border with Benin, and then went to the United States. 

In 1996, his book The Open Sore of a Continent: A Personal Narrative of the Nigerian Crisis, was first published. In 1997, he was charged with treason by the government of General Sani Abacha. 

 In 1999 a new volume of poems by Soyinka, entitled Outsiders, was released. That same year, a BBC-commissioned play called Document of Identity aired on BBC Radio 3, telling the lightly-fictionalized story of the problems his daughter's family encountered during a stopover in Britain when they fled Nigeria for the US in 1996; her son, Oseoba Airewele was born in Luton and became a stateless person.

Soyinka's play King Baabu premièred in Lagos in 2001, a political satire on the theme of African dictatorship.

In 2002, a collection of his poems entitled Samarkand and Other Markets I Have Known was published by Methuen.

In April 2006, his memoir You Must Set Forth at Dawn was published by Random House.

In 2006 he cancelled his keynote speech for the annual S.E.A. Write Awards Ceremony in Bangkok to protest the Thai military's successful coup against the government.^[92]

In April 2007, Soyinka called for the cancellation of the Nigerian presidential elections held two weeks earlier, beset by widespread fraud and violence. In the wake of the attempting bombing on a Northwest Airlines flight to the United States by a Nigerian student who had become radicalised in Britain, Soyinka questioned the British government's social logic in allowing every religion to openly proselytise their faith, asserting that it was being abused by religious fundamentalists, thereby turning England into, in his view, a cesspit for the breeding of extremism. He supported the freedom of worship but warned against the consequence of the illogic of allowing religions to preach apocalyptic violence.

In August 2014, Soyinka delivered a recording of his speech "From Chibok with Love" to the World Humanist Congress in Oxford, hosted by the International Humanist and Ethical Union and the British Humanist Association. The Congress theme was Freedom of thought and expression: Forging a 21st Century Enlightenment. He was awarded the 2014 International Humanist Award.^[97][98] He served as scholar-in-residence at NYU's Institute of African American Affairs.

Soyinka opposes allowing Fulani herdsmen the ability to graze their cattle on open land in southern, Christian-dominated Nigeria and believes these herdsmen should be declared terrorists to enable the restriction of their movements.

In December 2020, Soyinka described 2020 as the most challenging year in the nation's history, saying: "With the turbulence that characterized year 2020, and as activities wind down, the mood has been repugnant and very negative.

September 2021 saw the publication of Chronicles from the Land of the Happiest People on Earth, Soyinka's first novel in almost 50 years, described in the Financial Times as "a brutally satirical look at power and corruption in Nigeria, told in the form of a whodunnit involving three university friends." Reviewing the book in The Guardian, Ben Okri said: "It is Soyinka's greatest novel, his revenge against the insanities of the nation's ruling class and one of the most shocking chronicles of an African nation in the 21st century. It ought to be widely read."

The film adaptation by Biyi Bandele of Soyinka's 1975 stage play Death and the King's Horseman, co-produced by Netflix and Ebonylife TV, titled Elesin Oba, The King's Horseman,^{[103][104][105]} premiered at the Toronto International Film Festival (TIFF) in September 2022. It is Soyinka's first work to be made into a feature film, and the first Yoruba-language film to premiere at TIFF.

Personal life:

Soyinka has been married three times and divorced twice. He has eight children from his three marriages and two other daughters. His first marriage was in 1958 to the late British writer Barbara Dixon, whom he met at the University of Leeds in the 1950s. Barbara was the mother of his first son, Olaokun, and his daughter Morenike.

His second marriage was in 1963 to Nigerian librarian Olaide Idowu, with whom he had three daughters – Moremi, Iyetade (1965–2013), Peyibomi – and a second son, Ilemakin. Soyinka's youngest daughter is Amani. Soyinka married Folake Doherty in 1989 and the couple have three sons: Tunlewa, Bojode and Eniara.

In 2014, Soyinka revealed his battle with prostate cancer.

Soyinka has commented on his close friendships with Toni Morrison and Henry Louis Gates Jr., saying: "Friendship, to me, is what saves one's sanity."

Religion:

In November 2022, during a public presentation of his two-volume collection of essays, Soyinka said in relation to religion:

"Do I really need one (religion)? I have never felt I needed one. I am a mythologist... No, I don't worship any deity. But I consider deities as creatively real and therefore my companions in my journey in both the real world and the imaginative world."

Around July 2023, Soyinka came under severe criticism, after writing an open letter to the Emir of Ilorin, Ibrahim Sulu-Gambari, over the cancellation of the Isese festival proposed by an Osun priestess, Omolara Olatunji.

Legacy and honors:

The Wole Soyinka Annual Lecture Series was founded in 1994 and "is dedicated to honoring one of Nigeria and Africa's most outstanding and enduring literary icons: Professor Wole Soyinka".  It is organized by the National Association of Seadogs (Pyrates Confraternity), which Soyinka with six other students founded in 1952 at the then University College Ibadan.

In 2011, the African Heritage Research Library and Cultural Centre built a writers' enclave in his honor.

In 2013, he visited the Benin Moat as the representative of UNESCO in recognition of the Naija seven Wonders project. He is currently the consultant for the Lagos Black Heritage Festival, with the Lagos State deeming him as the only person who could bring out the aims and objectives of the Festival to the people. He was appointed a patron of Humanists UK in 2020.

In 2014, the collection Crucible of the Ages: Essays in Honour of Wole Soyinka at 80, edited by Ivor Agyeman-Duah and Ogochwuku Promise, was published by Bookcraft in Nigeria and Ayebia Clarke Publishing in the UK, with tributes and contributions from Nadine Gordimer, Toni Morrison, Ama Ata Aidoo, Ngugi wa Thiong'o, Henry Louis Gates, Jr, Margaret Busby, Kwame Anthony Appiah, Ali Mazrui, Sefi Atta, and others

In 2018, Henry Louis Gates, Jr tweeted that Nigerian filmmaker and writer Onyeka Nwelue visited him in Harvard and was making a documentary film on Wole Soyinka. As part of efforts to mark his 84th birthday, a collection of poems titled 84 Delicious Bottles of Wine was published for Wole Soyinka, edited by Onyeka Nwelue and Odega Shawa. Among the notable contributors was Adamu Usman Garko, award-winning teenage essayist, poet and writer.

·        1973: Honorary D.Litt., University of Leeds

·        1973–74: Overseas Fellow, Churchill College, Cambridge

·        1983: Elected an Honorary Fellow of the Royal Society of Literature (Hon. FRSL)

·        1983: Anisfield-Wolf Book Award, United States

·        1986: Nobel Prize for Literature

·        1986: Agip Prize for Literature

·        1986: Commander of the Order of the Federal Republic (CFR), national honour of Nigeria

·        1990: Benson Medal from the Royal Society of Literature

·        1993: Honorary doctorate, Harvard University

·        2002: Honorary fellowship, SOAS University of London

·        2005: Honorary doctorate degree, Princeton University^[128]

·        2005: Enstooled as the Akinlatun of Egbaland, a Nigerian chief, by the Oba Alake of the Egba clan of Yorubaland. Soyinka became a tribal aristocrat by way of this, one vested with the right to use the Yoruba title Oloye as a pre-nominal honorific.

·        2009: Golden Plate Award of the American Academy of Achievement presented by Awards Council member Archbishop Desmond Tutu at an awards ceremony at St. George's Cathedral, Cape Town, South Africa

·        2013: Anisfield-Wolf Book Award, Lifetime Achievement, United States

·        2014: International Humanist Award

·        2017: Joins the University of Johannesburg, South Africa, as a Distinguished Visiting Professor in the Faculty of Humanities

·        2017: "Special Prize" of the Europe Theatre Prize

·        2018: University of Ibadan's arts theatre renamed as Wole Soyinka Theatre.

·        2018: Honorary Doctorate Degree of Letters, Federal University of Agriculture, Abeokuta (FUNAAB).

·        2022: Honorary Degree from Cambridge University, bestowed upon people who have made outstanding achievements in their respective fields.

Europe Theatre Prize:

In 2017, he received the Special Prize of the Europe Theatre Prize, in Rome. The Prize organization stated:

A Special Prize is awarded to Wole Soyinka, writer, playwright and poet, Nobel Prize for literature in 1986, who with his work has been able to create an ideal bridge between Europe and Africa (...) With his art and his commitment,

Cuba's National Medal of Honour:

In August 2024, the President of Cuba, Miguel Diaz-Canel, honoured the Nobel Laureate with the Haydee Santamaria Medal, which is also known as Cuba’s national medal of honour.

“It is the visit of a brother who has always been fighting for the most just causes,” the president was quoted as saying, while thanking Soyinka for visiting Cuba “in such a complex moment” for the North American country.

Alleged CIA funding:

In a book published in 2020, University College London academic Caroline Davis examined archival evidence of the Central Intelligence Agency (CIA) funding of African authors in the post-independence period. One chapter of the book, titled "Wole Soyinka, the Transcription Centre, and the CIA", focused specifically on Soyinka's receipt of funding from CIA front organisations such as the Farfield Foundation and the Transcription Centre. The funding supported Soyinka's publishing and the global production of some of his theatre plays. The book states that even after the CIA's covert role in some of these initiatives was revealed in the 1960s, Soyinka had “unusually close ties to the US government even to the point of frequently meeting with US intelligence in the late 1970s”.

Nigerian academic Adekeye Adebajo has argued in the Johannesburg Review of Books that Davis does not directly accuse Soyinka of being a CIA agent and as a result Soyinka's denials are also misdirected.

His Works:

Plays:

·        Keffi's Birthday Treat (1954)

·        The Invention (1957)

·        The Swamp Dwellers (1958)

·        A Quality of Violence (1959)^[143]

·        The Lion and the Jewel (1959)

·        The Trials of Brother Jero (1960)

·        A Dance of the Forests (1960)

·        My Father's Burden (1960)

·        The Strong Breed (1964)

·        Before the Blackout (1964)

·        Kongi's Harvest (1964)

·        The Road (1965)

·        Madmen and Specialists (1970)

·        The Bacchae of Euripides (1973)

·        Camwood on the Leaves (1973)

·        Jero's Metamorphosis (1973)

·        Death and the King's Horseman (1975)

·        Opera Wonyosi (1977)

·        Requiem for a Futurologist (1983)

·        A Play of Giants (1984)

·        Childe Internationale (1987)^[144][145]

·        From Zia with Love (1992)

·        The Detainee (radio play)

·        A Scourge of Hyacinths (radio play)

·        The Beatification of the Area Boy (1996)

·        Document of Identity (radio play, 1999)

·        King Baabu (2001)

·        Etiki Revu Wetin

·        Alapata Apata (2011)

·        "Thus Spake Orunmila" (in Sixty-Six Books (2011)^[146]

Novels:

·        The Interpreters (1965)

·        Season of Anomy (1973)

·        Chronicles from the Land of the Happiest People on Earth (Bookcraft, Nigeria; Bloomsbury, UK; Pantheon, US, 2021)^[147][148]

·        Harmattan Haze on an African Spring

Short stories:

·        A Tale of Two (1958)

·        Egbe's Sworn Enemy (1960)

·        Madame Etienne's Establishment (1960)

Memoirs:

·        The Man Died: Prison Notes (1972)

·        Aké: The Years of Childhood (1981)

·        Ibadan: The Penkelemes Years: a memoir 1945–1965 (1989)

·        Ìsarà: A Voyage around Essay (1989)

·        You Must Set Forth at Dawn (2006)

·        Climate of Fear (Literature) (2005)

Poetry collections:

·        Telephone Conversation (1963) (appeared in Modern Poetry in Africa)

·        Idanre and other poems (1967)

·        A Big Airplane Crashed into The Earth (original title Poems from Prison) (1969)

·        A Shuttle in the Crypt (1971)

·        Ogun Abibiman (1976)

·        Mandela's Earth and other poems (1988)

·        Early Poems (1997)

·        Samarkand and Other Markets I Have Known (2002)

Essays:

·        "Towards a True Theater" (1962)

·        Culture in Transition (1963)

·        Neo-Tarzanism: The Poetics of Pseudo-Transition

·        A Voice That Would Not Be Silenced

·        Art, Dialogue, and Outrage: Essays on Literature and Culture (1988)

·        From Drama and the African World View (1976)

·        Myth, Literature, and the African World (1976)^[149]

·        The Blackman and the Veil (1990)^[150]

·        The Credo of Being and Nothingness (1991)

·        The Burden of Memory – The Muse of Forgiveness (1999)

·        A Climate of Fear (the BBC Reith Lectures 2004, audio and transcripts)

·        New Imperialism (2009)^[151]

·        Of Africa (2012)^[152][153]

·        Beyond Aesthetics: Use, Abuse, and Dissonance in African Art Traditions (2019)

Films:

·        Kongi's Harvest

·        Culture in Transition

·        Blues for a Prodigal

Translations:

·        The Forest of a Thousand Demons: A Hunter's Saga (1968; a translation of D. O. Fagunwa's Ògbójú Ọdẹ nínú Igbó Irúnmalẹ̀)

·        In the Forest of Olodumare (2010; a translation of D. O. Fagunwa's Igbo Olodumare)

 

Telephone Conversation

“Telephone conversation”, is a poem that highlights the impact of racial discrimination in the macro structure of society. The title of the poem reveals that two individuals having a discussion on the phone and how the black man on the receiving end is been racially discriminated. In other words, it is about the way both race (black and white) fail to communicate to each other without discrimination.

At the beginning of the poem, it is informed that the narrator of the poem, is looking for a rented apartment and he felt that the price and location seemed reasonable (indifferent to race or color). Being positive and exited, he makes a telephone to the white landlady, asking for a room to rent.

“The price seemed unreasonable, location indifferent.”

However, he feels he must let her know he is black. To his greatest surprise the landlady remains silent as soon as she got his identity as an African.

“Nothing remained but self-confession. “Madam,” I warned,

“I hate wasted journey- I am African.”

Silence. Silenced transmission of pressurized good-breeding.

This is where the lapses in communication begin; her silence be situated which reflects her indifference and reservation towards the blacks. She further inquires about his color, as she confirms him to be black she hangs up the phone. This incident shows the level of discrimination suffered by the blacks, in a more elaborate understanding, the landlady has not said anything nor has she denied his request, she just hangs up the phone, as she chooses not to listen to him anymore.  It is a satirical poetry written in 1963. In response, the speaker cleverly mocks the landlady’s ignorance and prejudice, demonstrating that, characterizing people by their skin color, diminishes their humanity.

Change is possible, only through the mutual dialogue of black and white, but this poem does not hint towards the possibility of such dialogue. The open-ended structure of the poem represents the uncertain future of the blacks. It is certain how long they have to plead in such a manner.

Structure:

“Telephone conversation” is written in free verse, meaning it doesn’t have a regular rhyme scheme. This keeps the poem feeling unpredictable; the reader doesn’t know where this uncomfortable conversation is going next.

The closest thing to a rhyme comes in lines 28-29, which end with the words “see” and “feet”. The /ee/ the sounds in both words are assonant. That binds them together, creating an effect which is almost like rhyme but the /t/ sound at the end of “feet” keeps this from being a perfect rhyme.

The poem’s refusal to use rhyme, even occasionally, thus mimics the divide between the speaker and the landlady.

 Form:

The poem is written in a single, 35-line stanza of a free verse. Meaning, it does not have a specific meter or rhyme scheme. The poem feels conversational rather than tightly controlled and it is also very unpredictable. It’s not clear to the reader where this conversation will go next.

The speaker also uses sharp enjambments to create suspense and surprise, alongside short phrases like “Red booth. Red pillar box.” That creates a punchy, staccato rhythm. This rhythm mimics the telephone conversation, with all its short curt exchanges and its awkward pauses.

Theme:

In this poem, ‘Telephone Conversation’, Wole Soyinka exposes the prevalence of racial discrimination in society regardless of the stringent laws against it. He brings to light how it is practiced covertly by many white people. He highlights the hypocritical nature of these people in the poem. Through a simple telephone conversation, the poet provides an insightful observation on how the racially discriminating society functions.