If I had words, I would tell you stories that would make the wind weep.
– Foreign Gods, Inc. Okey Ndibe
There is a particularly farcical, definitely quixotic misadventure that Professor Wole Soyinka narrates in his memoir, You Must Set Forth at Dawn. In the late seventies, convinced that the Ori Olokun, a bronze artifact needed to be rescued from Brazil and returned home to Nigeria, Soyinka set about the “rescue” with hilarious results. He goes to Brazil and manages to bring home what turns out to be a fake, clay replica of the real deal. The real Ori Olokun was cooling its heels, under lock and key, in an air-conditioned museum in London. The farce is entertainingly re-narrated by Matt Steinglass in this brutal but entertaining review
of Soyinka’s memoir.
Foreign Gods, Inc., Okey Ndibe’s new thriller of a fiction relives the farce in reverse. This time, Ike Uzondu, the protagonist, a highly educated Nigerian immigrant living a life he detests as a near-bankrupt, somewhat alcoholic cab driver in New York decides to go to his ancestral home in Nigeria, steal the totem of the god Ngene, “that ancient god of war named after a moody mud-colored river” and return to America in triumph where presumably Mark Gruels an art dealer would willingly pay a huge sum of money for it. Things do not end well, but you will have to read the book, you will enjoy this well-paced thriller. It is good writing and anyone that has followed Ndibe will not be disappointed. In Foreign Gods, Inc. Ndibe proves to be a master story-teller. Good for him. On the Internet, and everywhere the written word resides, Ndibe rules the waves of Nigerian social commentary. A superb writer with a keen social conscience, his scathing essays drive Nigeria’s thieving ruling class up the walls of their stolen mansions. Whenever he visits Nigeria, it is unusual that he is not accosted by the goons of the ruling class du jour. Few know however that Ndibe is also a fiction writer who has one novel, Arrows of Rain under his belt. You should read Foreign Gods, Inc.; it is an important, engaging, and fun addition to literature.
There are many reasons to like Foreign Gods, Inc. From the first page, Ndibe employs many literary tricks to hold the reader’s fickle attention to the end. A great first chapter sprints confidently into the second and so on to create a well-paced book that managed to keep my attention away from the neediness of social media. Ndibe has a fine mind, and a social conscience; from Babylon to Africa, Ndibe’s voice rises to a roar of rage at his ancestors’ condition. Ndibe is Achebe’s Obierika, endlessly thinking about these things, he interrogates both the material and the spiritual, what some might call superstition. And he does it with the grace of someone imbued with enough self-confidence to defend his ancestors’ dignity and eroding way of life. Foreign Gods, Inc. functions as social commentary, and examines, in a counter-intuitive way, the role of the African intellectual in the mess that is today’s Africa. Think about it, Soyinka wanted to return the Ori Olokun from its air-conditioned vault to a life of certain destitution where museums can be filthy, empty rooms attended to by termites; Ike wanted to return home to steal an artifact and sell to the white man. To hell with moral absolutism. Man must wack. The farce lives.
For Ndibe’s Foreign Gods, Inc., the subtext is greed, we are selling our gods, no, we have sold our gods. His rage is coolly turned on Nigeria. We see a Nigeria ravaged by rank consumerism and organized religion, especially the new Christianity of “prosperity” churches.
Her people, poor and rich, are thus united by a crushing poverty – of spirit and ideas (see “healing mystery lake video”). Ndibe weeps over a dying world and seems helpless as alien gods and thieving pastors rifle through the remains of a yard sale from hell. The new religion teaches us to think only in black and white, light and darkness. Ndibe chronicles the devastation. The pastor is not a man of God but a man of fraud. 419 pastors have infected Nigeria. His analysis of the devastation wreaked on Nigeria by the new Christianity is worth the price of the book. He also riffs on the Babylon that is the protagonist’s America. Culture shocks peek out of the civil, unctuous airs of Manhattan. The high rises bow to greed. This is also a story about identity and belonging, a novel about our America, their America. “And then there was Derek Jeter pitching some credit card. Ike had dozed off. He startled awake as a sports reporter screeched about the Yankees’ tie-breaking home run in the second game of a split doubleheader against the Boston Red Sox at Fenway Park.” (Kindle Locations 263-264). Ndibe knows his America.
Foreign Gods, Inc. is about a duel between Africa (Ike Uzondu) and the West (Mark Gruels). The Vampire strike the Empire. Or not. Numerous confrontations in the book heightened a luscious, ever present tension. All through the myriad drama, the book manages not to be drowned by the prattle of too many characters. Also, Ndibe captures, perhaps unwittingly the trademark superciliousness of the self-absorbed African writer bereft of a moral filter. He addresses many conventional issues that preoccupy African writers; the indignity of destitution, corruption, misogyny, women and children as chattel, the ravages of drug trafficking, patriarchy, capitalism, consumerism, the banality of our dreams, etc. Still, for the most part, funny, well-crafted lines jostle with important history. He chronicles with a war-weary eye the corruption in the land. My favorite lines advertise the gentrification going on in Nigeria’s rural areas: “The house behind seemed to stand on heels and peer into his mother’s backyard. Zinc-roofed concrete houses stood where mud houses used to be. Several buildings sported satellite dishes or television antennas.” (Kindle Locations 1238-1239). Nice.
Yes, Ndibe pens beautiful prose; he writes memorable lines like this: “The last scene he remembered was the clarity of the dawn sky in Amsterdam, a wide blue dome with no cloud puffs in sight. As the plane ascended, he looked out the window at the immensity of the sky. Then, casting his eyes down, he saw the vast mat of the landscape, the streets of Amsterdam marked off by geometric patterns amid marshes and expanses of green. Seen from the heights, the rugged beauty of the unfurled scene seemed unbearable, and he shut his eyes.” (Kindle Locations 1005-1008) Nice.
The book is a touching tale told with uncommon dignity, coolly narrated with a matter-of-fact but engaging cadence. Ndibe writes about an era in America when folks still walked into a travel agency and bought an air ticket, a time of emails and whatnot. Ndibe knows America with all its grittiness. The dialogue is great, you want to eavesdrop on a deadly serious account of a journey that is gripping in parts. Even though, the trademark superciliousness of the African writer towards West colors the book, however this time it is turned inwards also. We are making progress.
It would be interesting to study Ndibe’s Foreign Gods, Inc. side by side with Ngozi Chimamanda Adichie’s Americanah and reconcile their perspectives on race, America and relationships. The books do complement each other in the interesting conversations on African-American and African relationships. The marriage of convenience (for the coveted green card) between Ike and Bernita, the African American was the War of the Roses with lots of sex and drinking in the numerous intermissions. Like Americanah, Foreign Gods, Inc. is about class; touching is the class difference between Ike and Bernita, the marriage a perverse symbiotic relationship, each in the marriage for different reasons. Like Americanah, Foreign Gods, Inc. also examines the tensions between Nigerians in the Diaspora and Nigerians at home. To Ndibe’s credit, he does spare the reader another conversation on the politics of hair.
Ike’s world is grim and filled with the grit of despair, of “creditors… disconcerting mail: late-payment reminders, disconnection warnings, cancellation threats, repossession notices, eviction slips… an ever-present frowsy smell… a commingling of spilled liquor, urine, cigarette smoke, perfumes, and the rich, leafy scent of marijuana.” (Kindle Locations 577-585). You can smell America. You can also smell the eaves of Ndibe’s earth, “…memories of the nights during childhood when he could not sleep unless cuddled up against her body, which reeked of smoky wood, warm like sun-baked clay.” (Kindle Locations 662-663). Anxieties, identities, issues clashing in powerful paragraphs. Ike is living a life of seedy desperation, on the edge of a capitalist nightmare, sourcing for funds as hustlers would say in Nigeria, feeding twin monsters, American style capitalism, and that Nigerian scourge called the extended family system. Like Obi in No Longer at Ease, the end will be inglorious.
Foreign Gods, Inc. is not a perfect book, of course, says the cliché. The editing is not the best. Ndibe is a master of words, however, in a few places, the editing clamps restraints on him, it is as if he is communicating in a different voice, you can barely recognize him. Thanks to the editing, with Nigerian words much is lost in translation. We need indigenous Nigerian editors in these Western publishing houses, they don’t quite get us. It can be irritating; Nigerian terms are italicized and eroticized, it is a wonder there is no glossary explaining Kalu Mazi.
Foreign Gods, Inc. is burdened by a structural flaw; there is a confused timeline of events. In one instance, in Ike’s village, a group is watching a 1991 game NBA championship game between the Chicago Bulls and the Los Angeles Lakers. It seems unlikely that even in the remotest of Nigerian villages, this would be happening in 2006. One can only surmise that the manuscript was first conceived in the nineties, with the plots and characters and ambience evolving to meet a fast changing world (emails, cell phones etc.). In another example, the pastor rides around in a Peugeot 504. In the late 2000’s it seems unlikely for a prosperity pastor to own that model, he would have had to search far and wide to locate one. Attempts to make the story more contemporary are thus subverted and ambushed by traces of (ancient) history. The world is moving too fast for our writers, it is not their fault. Books are struggling with the interactive and addictive nature of social media. And losing. A book is so 20th century: You cannot swipe, LOL, LIKE, CLICK, talk to a book. A book knows it all. A book lectures. Like a 20th century headmaster. In the 21st century, the book is a dying sage on the stage. Long live the Internet.
Finally, Ndibe will have to contend with many readers who will undoubtedly ask legitimate questions about the heavy presence of Chinua Achebe’s ghost between the sheets of Foreign Gods, Inc. Ndibe’s unpretentious prose highlights effectively, in my view, the utter banality of life for many immigrants in the West. But then there are transitions in the prose that offer strong whiffs of Achebe’s many works of fiction:
“Look at this,” his uncle had said, pulling up his undershirt to expose a gash in his belly. Osuakwu paused, running his fingers along the singed, darkened scar. “First, the white man forced me to go to Burma to fight in a war that had nothing to do with me. It was a quarrel between different white brothers. And then the white man gave me this as payment.” (Kindle Locations 1000-1003).
Chapter 10 has strong echoes of Chinua Achebe’s Things Fall Apart and Arrow of God. Scholars may have a field day interpreting this. Again, the language reminds one eerily of Achebe. Characters like Unoka, Uchendu, Okonkwo, Obierika, etc. seem to make loud cameo appearances in the book’s characters. There is even an interpreter that is ridiculed by “a proud loquacious oaf.” Chapter 14 suffers immensely from Achebe’s spirit, it is as if one is reading passages knighted by a composite influence of Things Fall Apart, No Longer at Ease, Arrow of God, and A Man of the People; here, Ndibe is Achebe with a cell phone. Like Achebe’s books, here, there is a surplus of parables and tales. It is as if you are reading Achebe, so many parallels. Osuakwu is Ike’s uncle. Uchendu was Okonkwo’s uncle. The beauty of spirituality of the Igbo is captured, but one hears Arrow of God. In the conversation between Ike and Big Ed, the Jamaican immigrant, one is reminded of Uchendu’s admonition of Okonkwo in Things Fall Apart.
What do I think? Foreign Gods, Inc. is a great outing that will be remembered and defined by its relationship with virtually all of Chinua Achebe’s works of fiction, and not always in a good way. Devotees of Achebe will see his spirit everywhere. Ndibe made a strategic decision, it seems, some would say, a strategic mistake to be heavily influenced by Achebe’s works. Achebe is everywhere, delete the cellphones and the emails and you almost find yourself chanting, “Kotma of the ashy buttocks.” And so, Foreign Gods, Inc. will be important for at least one reason that Ndibe probably never envisioned, its relationship with Achebe’s works. Scholars will spend countless hours debating at what point an influence gets acknowledged. There is no science to this; it is a matter of personal judgment. It should have been a simple fix, Ndibe should have openly acknowledged Achebe’s influence in the book and given him some credit – upfront. Achebe does get a nod in the “acknowledgments” section but only in a vague, “he was my mentor, and I love him so, sense.” An upfront acknowledgment would have been sufficient for me. Still it did not rob me of some of the fun of reading about “buttocks” in Foreign Gods, Inc. and chuckling about the court messengers in Things Fall Apart being ridiculed by the prisoners:
“Kotma of the ash buttocks,
He is fit to be a slave.
The white man has no sense,
He is fit to be a slave.”
Achebe, Chinua (2010-10-06). Things Fall Apart: (Kindle Locations 1903-1904).
I have said my own.
This review was first published on http://xokigbo.wordpress.com/. It is published here with permission from http://xokigbo.wordpress.com/