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The brave African huntress
After 18-year-old Adebisi inherits her father's hunting profession, she searches for her four brothers who vanished in the Jungle of the Pygmies before she was born.
Unknown Binding
First published January 1, 1958
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About the author
Amos Tutuola
41 books215 followersAmos Tutuola (20 June 1920 – 8 June 1997) was a Nigerian writer famous for his books based in part on Yoruba folk-tales.
Despite his short formal education, Tutuola wrote his novels in English. His writing's grammar often relies more on Yoruba orality than on standard English.
Despite his short formal education, Tutuola wrote his novels in English. His writing's grammar often relies more on Yoruba orality than on standard English.
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April 25, 2015I nominate the writings of Amos Tutuola for canonization. And this in regard to three aspects ::
First, for the Nigerian canon. This should be non-controversial.
Second, for the canon of works of the English Language. To my knowledge, there is nothing quite like Tutuola=English; to the extent that his prose offers a very peculiar dilemma to the translator. Anyone who has already encountered Tutuola’s unique voice will find nothing controversial here.
Thirdly, for the canon of World Literature, the folklore. This in the vein of such as Aesop and the Grimm Brothers. Again, how can this be controversial?
And no doubt there are several further aspects under which his works might function canonically, as African literature or as post-colonial fiction, for instance.
Further, in analogy with Aesop and the Grimms, whose works are frequently published, read, and studied in complete/collected editions, Tutuola’s complete works should count as his canon contribution. Completionizationism. There is a unity to his writings, a conceptual continuity. Of course there is variation within that body of work, but more than The Palm-Wine Drinkard and My Life in the Bush of Ghosts should be habitually read and studied.
And by what authority do I contribute my nomination? When the canon is controlled by a priesthood? In my religious tradition we speak of the “priesthood of all believers.” By analogy we might speak of a “priesthood of all readers”, by which right all readers are in a position to put forward claims regarding the standards according to which great works ought to receive a wider readership. Perhaps I’ll remain a lone voice in the wilderness; perhaps a multitude of Tutuola-readers will spring forth.
Finally, I would go out on a limb and propose a canonization of Tutuola in the Catholic sense, submitting that something of a miraculous nature is about when writing first comes on the scene. And Tutuola’s translation of an oral body of folklore into written texts is a kind of miracle meriting Canonization.
First, for the Nigerian canon. This should be non-controversial.
Second, for the canon of works of the English Language. To my knowledge, there is nothing quite like Tutuola=English; to the extent that his prose offers a very peculiar dilemma to the translator. Anyone who has already encountered Tutuola’s unique voice will find nothing controversial here.
Thirdly, for the canon of World Literature, the folklore. This in the vein of such as Aesop and the Grimm Brothers. Again, how can this be controversial?
And no doubt there are several further aspects under which his works might function canonically, as African literature or as post-colonial fiction, for instance.
Further, in analogy with Aesop and the Grimms, whose works are frequently published, read, and studied in complete/collected editions, Tutuola’s complete works should count as his canon contribution. Completionizationism. There is a unity to his writings, a conceptual continuity. Of course there is variation within that body of work, but more than The Palm-Wine Drinkard and My Life in the Bush of Ghosts should be habitually read and studied.
And by what authority do I contribute my nomination? When the canon is controlled by a priesthood? In my religious tradition we speak of the “priesthood of all believers.” By analogy we might speak of a “priesthood of all readers”, by which right all readers are in a position to put forward claims regarding the standards according to which great works ought to receive a wider readership. Perhaps I’ll remain a lone voice in the wilderness; perhaps a multitude of Tutuola-readers will spring forth.
Finally, I would go out on a limb and propose a canonization of Tutuola in the Catholic sense, submitting that something of a miraculous nature is about when writing first comes on the scene. And Tutuola’s translation of an oral body of folklore into written texts is a kind of miracle meriting Canonization.
February 2, 2016
This was unfortunately another disappointment. It read very strangely. After reading I found out that the writer often wrote using the grammar of Yoruba oral story telling rather than english grammar, which makes sense. At the time of reading I was very confused with the writing style, it felt like something you'd read to a kid before bed in hopes that they'd go to sleep, as in it had long winding sentences and often repeated something that was said in the other sentence and what not.
I mean it was interesting I suppose, very different to my usual fare. But I just could not enjoy it as much as I was hoping to.
I mean it was interesting I suppose, very different to my usual fare. But I just could not enjoy it as much as I was hoping to.
November 17, 2016
I didn't enjoy this book as much as I wanted to. The broken English, while giving it an "authentic" feel, also made it hard to follow. It was a fun adventure with a strong heroine. But there was also a lot of violence.
Displaying 1 - 3 of 3 reviews