for African fantasy, Tutuola’s work is worthy of a reappraisal. His compelling narratives and inventive mixture of traditional folklore with wholly unique supernatural elements offers a lot to contemporary readers.Tutuola about five years ago, when I began my master’s degree in African literature.
For me, the pleasure of Tutuola comes from how clever he is. The notion of a man who drinks so much palm wine that he couldn’t possibly drink something as bland as water is funny. When the protagonist of the novel later evades the Grim Reaper by hiding under a bed made of bones, I laugh and cheer for him. The delight in Tutuola’s writing often comes from its strangeness. His sentence structures don't generally adhere to conventions.
Tutuola’s novels are all relatively short, but they contain the kinds of subplots, side quests, and digressions typical of epics such as. But while readers are often happy to forgive an episodic or even scattered plot, the controversy with Tutuola remains with his language — his word choice, his grammar, or as the Welsh poet Dylan Thomas put it in his 1952 review of the novel, his “young English.”
This headline and the opening lines of the article are extremely irresponsible. Why do Africans always have to remind you all that we have cultural histories that stand on their own right? Tutuola's work was not the 'African Game of Thrones.' Cut that nonsense out.
When I read The Palm Wine Drinkard in college (1970), it was old then!
Doesn't this headline basically mean the same as saying 'George R.R. Martin 'owes' Tolkien'? Like, yeah, previous work influences present work... how is this article 'news'?
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