Universal Vision in the Fiction of Ben Okri

Okri’s fiction is a mix of fantasy, realism and oral tradition of Africa. Though the trilogy nearly covers some fourteen hundred odd pages, it doesn’t have a proper beginning or end. Okri’s view of an unnamedAfrican ghetto, which is going to get independence, is presented in these novels. He is not giving solutions to the existing problems , he is simply presenting the true nature of an African state in an elusive manner. He narrates The Famished Road through the experiences of an ‘abiku’, Azaro, a seven year old child. He uses Azaro to narrate the chaotic state of affairs in an African state , and educates Azaro with the rich African culture in the form of stories told by his mother and father, and shows the real state of Africa in the form of photographs taken by the photographer, Jeremiah. Okri’s fiction has many layers of meaning which makes the task of analysis difficult. Though several labels like magical realism, Post-colonial, post-modern text are given the trilogy defies any particular definition. After examining his Trilogy thoroughly, it seems that Okri though elusive in his writings apparently wants a new – world. The Trilogy moves in the direction of anticipating a world fine tuned to harmonious living. The main characters , , are chosen to present the corrupt Africa and the consequences in the colonialism

SMART MOVES JOURNAL IJELLH e- ISSN: 2582-3574 p-ISSN: 2582-4406 VOL. 8, ISSUE 11, NOVEMBER 2020 www.ijellh.com 137 undermining the mnemonic feats of dynastic musicians with songs of lust competing with songs of work. Their different kinds of music fight one another in their hidden ideologies and world views. They warred with music, carrying on where the main guests have left off. The musicians suddenly stop as if the wind and night are canceling out their music. Azaro learns that a yellow bird flew across Madame Koto's head and shat on her crown of rock-beads.
One of the guests from Bamako considers it as a bad omen. By this Okri shows that though people enjoy and learn music which is a symbol of western civilization yet the same time they still believe in omens and signs.
Masquerades and spirits are used exclusively throughout the trilogy to emphasize the importance of spirits in revitalizing human life in the physical world. Azaro observes long legged spiders while listening to his father's words. When he turns his head he sees nothing.
But they keep moving closer, like crabs or a phalanx of Roman soldiers, changing positions with the movement of his head. The mosquitoes flitted round him. A lizard scuttled across his father's hat. The mosquitoes flew into his ears and whine in his brain. The driver stops snoring. The masquerade's kingdom began to invade his mind. He feels its gigantic presence in him, alien and dark, like the shadow of a compacted mountain in a small room. Azaro feels the spaces in him crowded out, stretched and bursting with this unholy occupation. The essences of the unborn, the lust of life, and the darkness of death compress themselves into Azaro. And for the first time Azaro becomes aware that just as he could unintentionally enter the spirit of things, they too could enter into him. And the masquerade, howling in his mind, watches Azaro's father through his eyes. According to Hemminger the Trilogy can be treated as a record of powerful ,dangerous and beneficial aspects of the spirit world as it relates to the physical world.
In songs of enchantment, Azaro echoes his father's earlier comment that everything is alive. Indeed the world is inhabited not only by humans and spirits but also by ambulatory SMART MOVES JOURNAL IJELLH e-ISSN: 2582-3574 p-ISSN: 2582-4406 VOL. 8, ISSUE 11, NOVEMBER 2020 www.ijellh.com 138 trees, liquid roads, masquerades that pitch and fight. In Azaro's world future events present themselves in phantasms and portents alongside relived histories and currentday injustices.
Azaro and many other characters in the Trilogy seem to accept the presence of all other beings and things. By this "Okri seems to suggest that humans need to take their places alongside other things in the world, that humans have little if any control over those things, and that a mature and responsible human accepts the presence and inherent value of all other things" (Hemminger 73).Okri mixes myth and social realism, because he doesn't wish to reduce the complexity of Africa into socio-political problems. Africa is continuously troubled by the socio-political structure of the nation. Okri's trilogy is not only concerned about myth and social realism but also asserts that "every thing is alive". Okri uses the character of Azaro's father as his mouth piece and shows the significance of all beings. Azaro's father respects all creatures, even rats that co-exist with their family. He asks Azaro to listen to rats.
"Azaro, rats can be our friends. They can sometimes tell what is happening in the world.
They are our spies" (FR 84). Azaro understands the language of rats and he hears them saying "that the world is tougher than fire or steel" (FR 85). "Azaro is in some ways 'formed' by his dad's accomplishments. What the child 'understands' surely exceeds the limits of his cognitive powers; he learns about life from his father" (Hemminger 79 course, Azaro's case is an exceptional one, yet Okri suggests that all people, as discussed earlier are similarly constituted" . In the trilogy the spirits are everywhere. They are eager to taste human things, Azaro watches them as they laugh and bang the tables. Then he realizes for the first time that many customers are not human beings. Their expressions and moments are at odds with their bodies. They look like a confused assortment of different human parts. It occurs to Azaro that they were spirits who had borrowed bits of human beings to partake of human reality. "In turn, the spirits revitalize human life, rein spire a world grown compartmental and cold" www.ijellh.com 141 their many roads, ways and philosophies. He visualizes the trees retreat screaming into the blue earth and hears the conversation of great spirits of the land and forest talking of a temporary exile. Okri in his Trilogy tries to make the readers realize that man is responsible for the destruction of environment. Due to man's materialistic rush his relationship with nature is altered. This is revealed in the following words of Azaro. "As the freedom of space and friendship with the pied kingfisher and other birds became more limited with the new age, something died in me" (FR 524).Okri is preaching that man has to protect nature to have harmony in the world.
Azaro's father too tells a similar story, he tells Azaro about a dream in which he talks with trees and later they disappear and a man with no eyes tells him that people like him destroyed them. Okri is showing that man is responsible for the destruction of ecology.
The trees could talk and they tell him their life stories. Then people appeared and began to cut down the trees. The rainbows started to fade. The world became darker.
[…] All the rainbows had gone. All the beautiful colors of the world had gone. The trees were turning into stumps. Some of them were bleeding, many of them were ghosts.
[…]People like you have been destroying them. (SE 266) Azaro and his father depict suffering and ecological destruction throughout the Trilogy. According to Vazquez, Azaro grows from childhood to adulthood by developing a greater social awareness, in "The Famished Road the sympathy that the protagonist feels towards the community increases progressively throughout the narrative"(Vazquez 93).
Azaro sees his parent's pathetic working conditions and equates their pain with the pain of all other men and women. Azaro feels painful when he observes people staggering under the weight of salt bags, cement bags, and garri sacks in the garage where his father worked.
When he goes to the market in search of his mother there he observes that her tiredness and sacrifice were not hers alone but were suffered by all women of the market place. It became quite confusing to hear both parties virtually promise the same things.
The party of the rich talked of prosperity for all, good roads, electricity, and free education. They called the opposition thieves, tribalists,and bandits. At their rally , they said , everyone would be fed, all questions would be answered .
That evening the van of the party for the poor also paraded our street . They too blared music and made identical claims. They distributed leaflets and made their promises in four languages. when the two vans , each packed with armed bodyguards, passed one another , they competed with the amount of noise they could generate ….The two vans clashed twice that evening . we kept expecting some sort of war to break out , but both parties seemed restrained by the healthy respect they had developed for one another.(FR 390) The legacy of colonialism is only mentioned , but it is not shown responsible for the present state of political milieu . Okri doesn't blame the colonial order directly, but he gives some details about the colonial impact in his Infinite Riches: There's been too much attribution of power to the effect of Colonialism on our consciousness. Too much has been given to it. We've looked too much in that direction and have forgotten about our own aesthetic frames. Even though that was there and took place and invaded the social structure, it's quite possible that it didn't invade our spiritual and aesthetic and mythic internal structures, the way in which we perceive the world. Because if one were going to be investigative , one would probably say that a true invasion takes place not when a society has been taken over by another society in terms of its infrastructure , but in terms of its dreams and myths , and its perception of reality. If the perception of reality has not been fundamentally, internally altered, then the experience itself is just transitional. There are certain areas of the African consciousness which will remain inviolate. Because the world-view, it is that makes The governorgeneral is disturbed by the yellow moth of Africa and due to its influence, in his writings, he praises African's polygamous thinking and polygamous gods.
He notes that "instinct is the genius in paradise" (IR 187).He feels like an African himself. He questions the fate of imperialists -"the inevitable dissolution of overreaches. He feels their power over the world will vanish like the power of Romans. This shows how a white ruler has been over whelmed by African culture.
A deformed woman is not accepted by the society , so she starts living in the forest , and cares the wounded beasts and strange children. She goes away from the wickedness and hypocrisy of human beings. She watches the changes in society from her hut in the forest. She weaves long cloth of stories consisting people's secret narratives. The old woman and the governor general, in their writings show that all humans are equal and their writings echo collectiveness of people around the world . The following passage shows that universal love will beget majestic power: She even coded fragments of the great jig saw that the creator spread all over the diverse peoples of the earth, hinting that no one race or people can Okri stresses that god has distributed divinity and human genius to all the people in the universe in different ratios and no one can have the complete picture alone. Okri expresses this through the writings of the governor general. Okri in his fiction reveals that people can have this picture of divinity or humanity only when different people of the earth meet and learn to love one another. The governor general even writes that no one person or race can have the possession of this jigsaw of humanity.He even suggests that people can make use of this universal gift only when they come together as one people and face their common predicament and common love.
Azaro's friend too talks to Azaro about the new age, whichis going to come. He tells him that in the new age there will be many changes and the world will be filled with soldiers, ugliness and blindness. Great transformation will take place in the world when people least expect it. People who suffer will know justice and beauty. People will realize the meaning of hope and struggle due to the wonderful change. Then people will be peaceful and after some time they will forget the meaning of struggle and hope and things will again become worse.
This process of becoming good and bad will repeat continuously like the spirit child who keeps coming and going. Hence Ade compares their country to an 'abiku' child but in the end he reveals that one day it will decide to remain. So Okri's trilogy wishes to find peace and harmony in the new age.
Azaro's father too keeps on talking about "new age." Azaro's father explains a mystical revolutionary dream vision to his family, proclaiming that a 'new age' is coming in which the vast spiritual potential of human beings and their interconnectedness with the universe will be revealed. Azaro's father mentions that in the 'new age' man is enlightened so he can't be defeated or kept down. Okri through the character of Azaro's father shows that SMART MOVES JOURNAL IJELLH e-ISSN: 2582-3574 p-ISSN: 2582-4406 VOL. 8, ISSUE 11, NOVEMBER 2020 www.ijellh.com 146 man can re dream the world and make the dream real. He shows that human beings are gods hidden from them. People are not afraid of death they are afraid of love. Human history which is an undiscovered continent contains many things and they are all preserved in the heart of man which is bigger than a man. Okri is portraying that man is engulfed by many things. McCabe confirms the same notion in the following passage: Dad's revelation contains every item on the New age shopping list; it promulgates spiritual evolutionism ("we are entering a new age"; loving monism :we should not be afraid of "love" because we are inter connected to all things; " the sky is inside us" ) ; co-creative idealism ("we can re-dream the world and make the real") ;self actualization("human beings are gods hidden from themselves"); and, finally, the sense that an individual's inner voice can help him rise above the sclerosis of institutionalized traditions and material conditions of existence. (McCabe 12) To some extent the 'abiku' may reside in every one. That is man's mind will be continuously thinking about something or the other. Each individual will be thinking differently. Man is a social animal and society is a mix of many things. The circumstances and people that surround a man will have their impact on man's thinking. In the trilogy Okri uses 'abiku' child Azaro to portray different aspects which are affecting man's life. Azaro keeps moving between the real world and the spirit world. Similarly the other characters also speak about their dreams and imaginations which are connected to the real world as well as to the other world. This tendency can be seen in all individuals: We are all "abikus", says Okri in an interview-meaning not that we are all decentred, labile subjects of the kind celebrated by post modernity, but rather subjects alienated, like abiku, from their true home, possessing rich spiritual depths that can be more or less realized in the terrestrial plane of existence to which they have been exiled. For Okri, to be an abiku-to apprehend the paradox, mystery and fleeting beauty that glimpses of the spirit-world bring-is to put oneself and the society one inhabits on the road to heaven. (McCabe 16) Other central motive which supports the trilogy's 'New' age is hunger. In The Famished Road hunger and eating permeate Azaro's narration. Azaro becomes hungry each time in his wanderings and numerous journeys. Azaro's as well as other characters hunger is also a spiritual hunger. Whereas Azaro's father's hunger is a positive one as he proclaims that "God is hungry for us to grow" and that hunger can change the world, make it better, sweeter.
Azaro's hunger which is not different from his father' leads him into the ecstasy of everlasting love.
Okri hints that social realism in itself is not adequate enough to portray the actuality of the African land. He uses the character of the photographer to convey this message. The photographer stands for the artist in general. "The photographer tries to capture what he seesthat is, the external dimension of the objects-by means of a naturalistic technique" (Vazquez 89). The photographer captures portraits of families as well as the political scandals and corruption of the new state about to emerge. "Okri documents a political agenda of national healing" (Cooper,snapshots 146). The photographer is tortured by political thugs for revealing their true nature, he becomes a mythical hero.
The photographer is a representative of the modern man seeking his own freedom and a global understanding. He returns from having been "round the world and back" (FR 260) and "seen wonders as well as terrible things"(FR 280). The photographer challenges tradition, by undertaking several travels throughout the trilogy. He is in favor of fearless wanderlust and curiosity about the world. He tells Azaro that he will travel all the roads of the world and take photographs of the things which attract his attention.
At the same time, Okri resolutely refuses to reinforce the most obvious polarities such as that between technological progresses in opposition to the past. For example, the forest SMART MOVES JOURNAL IJELLH e-ISSN: 2582-3574 p-ISSN: 2582-4406 VOL. 8, ISSUE 11, NOVEMBER 2020 www.ijellh.com 148 rebels against its violation by so-called progress. In a huge storm that signifies the end of the harmattan and the beginning of the rainy season 'the freshly laid tarmac had been swept away : and all those who were building the road intended to connect the high way had flood for cover and were nowhere to be seen" (FR287).
The white over seer and the workers who foolishly try to save him are swept away in a stream of flood waters ominously described as originating from the forest. The colonial road is reduced to "what it used to be, a stream of primeval mud, a river"(FR 286). The storm however is linked to the new technology with the image of God as "the great photographer" with the lightening flash bulbs."The polarities are repeatedly contested even as they are established. The organic natural world of the pre-colonial past is not allowed to be pitted against the technological scientific innovations of the white engineer and the society he represents" (Cooper,Magical Realism 80).
The photographer tries to capture social reality and he represents Okri's realistic narrative, Where as Madame Koto and the blind old man with their corrupt means represent protruding power structures. Throughout the trilogy Okri shows conflicting forces.Azaro is troubled by his spirit companions, and is forever in confrontation with the spirit world and the real world. Madame Koto, the bar owner tries to conquer the energies of people, the ghetto is troubled by political parties, thugs, natural calamities and to a greater extent the riches of Madame Koto. Okri juxtaposes fabulous wealth besides utter poverty. People suffer due to it without their knowledge and its affect is seen in the spoilt parties of Madame Koto.
Okri's Trilogy defies classification. Okri himself asserts that the African artist must combine realistic and non realistic images if he is to portray the true nature of the continent.
Okri forges a hybrid narrative, which has been described as an example of "magical realism" or "spiritual realism".Stories have always been at the heart of his writing. The Famished Road is nearly encyclopedic collection of tales about its boy-hero, Azaro, as he moves easily Okri's trilogy shows universality as its main theme. There is no ambiguity in this; his work belongs to New Age spiritual discourse in general and his views on politics and spirituality in particular. Okri does not talk about Africa alone; he is talking about all countries, in fact about universe. His trilogy is a mix of suffering, pain, chaos, natural calamities, political violence, corruption, family ties, myth and fantasy. The whole theme of the trilogy is man has forgotten to 'love' the things created by god due to his selfishness and this resulted in his suffering. Okri repeatedly stresses that man has to learn to 'love' to achieve harmony and peace in the world which is cut into innumerable ribbon pieces.
Violence, corruption, politics are common to Africa. Their history revolves around these issues. People in Africa are superstitious and they perform many customs, to please their Gods and ancestors and it is part of their culture. African myth is used by okri to glorify his culture. Okri is equally good in using many genres at the same time. He devastatingly critiques meaningless and corrupt politics. History and politics are governed by the universal and repetitive cycle of greed. Okri's road passes through the ancient world of the spirits and is conceptualized with in traditional mythology.
In The Famished RoadOkri gives Azaro a road that has an insatiable lust for liveslust in the sense of the word, as characterized by Madame Koto, and lust in the sense of a vampire medium, inherent in the predatory corruption of man against man. In Songs of Enchantment Azaro's father enters an enchanted kingdom and visualizes cowardice, powerlessness as the censoring forces which are preventing people to grow. He sings that people are unable to connect with the ecstasy of hidden heavens because of the innumerable piled up problems. He says that people should live their lives with true love and wise hope. In SMART MOVES JOURNAL IJELLH e-ISSN: 2582-3574 p-ISSN: 2582-4406 VOL. 8, ISSUE 11, NOVEMBER 2020 www.ijellh.com 150 Infinite Richesthe governor general feels like an African himself and writes that the great jigsaw of humanity and human genius is distributed among all the people of the world. No one person or people have the possession of this jigsaw of humanity. Only together, as one people of this earth, facing our common predicament and redeeming love, we can fulfill our earthly journey.
The final destiny of man is to discover something of the great image or musicof our collective souls, of our immense possibilities, our infinite riches. Okri's spirit world is a world of ecstasy and joy. Spirits never experience pain and suffering. In the trilogy spirits take human forms to experience these things. They become vexed with their constant state.
Sprits inform Azaro that humans make complete mess of ideals; they do terrible things to each other and turn the garden into grave yard. They prefer to live in their own ignorance.
A voice informs Azaro about centrality of love and asks him to raise and reach that immortal and precious inheritance. Spirits fail to take back Azaro because they forget that for the living, life is a story and for the dead, life is a dream. Azaro travels through The Famished Road of suffering and pain and enters an enchanted world in Songs of Enchantment and realizes that man's ultimate destiny is to find Infinite Riches which will help him in his Journey of life.
Okri's trilogy is presenting us the multidimensional nature of human life. The three headed spirit, symbolizing past, present, and future informs Azaro that getting worse and better is a continuous process. So, as long as life continues man has to struggle to achieve harmony. If man keeps his mind open and fills his life with love and compassion towards god's creation then he will realize his abilities which in turn help him lead a harmonious life.
The manner, in which Okri passes on this message, makes him a phenomenon in world literature in general and African literature in particular.