BLACK SOCIAL HISTORY : AFRO - NIGERIAN " AMOS TUTUOLA " WAS A NIGERIAN WRITER FAMOUS FOR HIS BOOKS BASED IN PART ON YORUBA FOLK-TALES : GOES INTO THE " HALL OF BLACK GENIUS "

                               BLACK             SOCIAL              HISTORY                                                                                                                                                                                                                                                                   Amos Tutuola  20 June 1920 - 8 June 1997 was a Nigerian writer famous for his books based in part on Yoruba folk-tales.

Early history

Tutuola was born in Abeokuta, Nigeria, in 1920, where his parents Charles and Esther were Yoruba Christian cocoa farmers. When about seven years old, he became a servant for F. O. Monu, an Igbo man, who sent Tutuola to the Salvation Army primary school in lieu of wages. At age 12 he attended the Anglican Central School in Abeokuta. His brief education was limited to six years (from 1934 to 1939). When his father died in 1939, Tutuola left school to train as a blacksmith, which trade he practised from 1942 to 1945 for the Royal Air Force in Nigeria. He subsequently tried a number of other vocations, including selling bread and acting as messenger for the Nigerian Department of Labor. In 1946, Tutuola completed his first full-length book, The Palm-Wine Drinkard, within a few days. In 1947 he married Victoria Alake, with whom he had four sons and four daughters.

Writing

Despite his short formal education, Tutuola wrote his novels in English. After he had written his first three books and become internationally famous, he joined the Nigerian Broadcasting Corporation in 1956 as a storekeeper in Ibadan, Western Nigeria. Tutuola became also one of the founders of Mbari Club, the writers' and publishers' organization. In 1979, he held a visiting research fellowship at the University of Ife (now Obafemi Awolowo University) at Ile-Ife, Nigeria, and in 1983 he was an associate of the International Writing Program at the University of Iowa. In retirement he divided his time between residences at Ibadan and Ago-Odo.

Tutuola died at the age of 77 on 8 June 1997 from hypertension and diabetes.

Many of his papers, letters, and holographic manuscripts have been collected at the Harry Ransom Humanities Research Center at the University of Texas, Austin.

The Palm Wine Drinkard

Tutuola's most famous novel, The Palm-Wine Drinkard and his Dead Palm-Wine Tapster in the Deads' Town, was written in 1946, first published in 1952 in London by Faber and Faber, then translated and published in Paris as L'Ivrogne dans la brousse by Raymond Queneau in 1953. The noted poet Dylan Thomas brought it to wide attention, calling it "brief, thronged, grisly and bewitching". Although the book was praised in England and the United States, it faced severe criticism in Tutuola's native Nigeria. Part of this criticism was due to his use of "broken English" and primitive style, which supposedly promoted the Western stereotype of "African backwardness". This line of criticism has, however, lost steam. In the opinion of Taban Lo Liyong:

Now, in all that he has done, Amos Tutuola is not sui generis. Is he ungrammatical? Yes. But James Joyce is more ungrammatical than Tutuola. Ezekiel Mphahlele has often said and written that African writers are doing violence to English. Violence? Has Joyce not done more violence to the English Language? Mark Twain’s Huckleberry Finn is written in seven dialects, he tells us. It is acknowledged a classic. We accept it, forget that it has no “grammar”, and go ahead to learn his "grammar" and what he has to tell us. Let Tutuola write “no grammar” and the hyenas and jackals whine and growl. Let Gabriel Okara write a “no grammar” Okolo. They are mum. Why? Education drives out of the mind superstition, daydreaming, building of castles in the air, cultivation of yarns, and replaces them with a rational practical mind, almost devoid of imagination. Some of these minds having failed to write imaginative stories, turn to that aristocratic type of criticism which magnifies trivialities beyond their real size. They fail to touch other virtues in a work because they do not have the imagination to perceive these mysteries. Art is arbitrary. Anybody can begin his own style. Having begun it arbitrarily, if he persists to produce in that particular mode, he can enlarge and elevate it to something permanent, to something other artists will come to learn and copy, to something the critics will catch up with and appreciate.