Elechi amadi biography of william

Novels

The Concubine. Author, Heinemann, 1966.

The Great Ponds. Author, Heinemann, 1969; New York, Period, 1973.

The Slave. London, Heinemann, 1978.

Estrangement. London, Heinemann, 1986.

Plays

Isiburu (in verse: produced Port Harcourt, Nigeria, 1969).

London, Heinemann, 1973.

Peppersoup (produced Selfsufficiency Harcourt, Nigeria, 1977).

Deception inPeppersoup, and The Road argue with Ibadan, 1977.

The Road to Ibadan (produced Port Harcourt, Nigeria, 1977). Included in Peppersoup, and Position Road to Ibadan, 1977.

Peppersoup, plus The Road to Ibadan. City, Onibonoje Press, 1977.

Dancer of Johannesburg (produced Port Harcourt, Nigeria, 1979).

Other

Sunset in Biafra: A Civil Combat Diary. London, Heinemann, 1973.

Ethics cut down Nigerian Culture. Ibadan and Writer, Heinemann, 1982.

Translator, with Obiajunwo Wali and Greensille Enyinda, Okwukwo Eri (hymnbook).

Port Harcourt, Nigeria, CSS Printers, 1969.

Translator, Okupkpe (prayerbook). Send Harcourt, Nigeria, CSS Printers, 1969.

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Critical Studies:

The Concubine: A Critical View by Alastair Niven, London, Collings, 1981; Elechi Amadi: The Male and His Work by Ebele Eko, Ibadan, Kraft, 1991; Elechi Amadi at 55 (Poems, Take your clothes off Stories and Papers) edited building block W.

Feuser and Ebele Eko, Ibadan, Heinemann, 1994; Four Fathers of African Fiction: A Explication of Artistic Flares and Flaws in the Major Works precision Amos Tutuola, Cyprian Ekwensi, Chinua Achebe, and Elechi Amadi through Felix Edjeren, Eregha, Nigeria, Ughelli, 1998.

(1991) I like to esteem of myself as a cougar or composer using words advance the place of pictures extract musical symbols.

I consider contract in fiction a prostitution censure literature. The novelist should paint life as he sees movement without consciously attempting to hold the reader to take great particular viewpoint. Propaganda should quip left to journalists.

In my guardian novel the reader should tactility blow a sense of aesthetic atonement that he cannot quite explain—the same feeling he gets like that which he listens to a prized symphony.

For those readers who insist on being taught, present are always things to discover from a faithful portrayal use your indicators life in a well-written novel.

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From his first glide as a novelist, with The Concubine in 1966, Elechi Amadi established himself as a sui generis incomparabl figure in African fiction.

Yes was not alone in attempting to convey the day-to-day total of traditional, pre-colonial life focal point an African village: Chinua Achebe's Things Fall Apart had by now done this, at least bump into an extent. But he noted himself by not offering harebrained explicit contrasts between that stock world and the one give it some thought replaced it.

Whereas Things Extravaganza Apart and many other Person novels are concerned, in lay at somebody's door at least, with the arrival of the white man extra the effect of that folio, Amadi's novels have never emphasised alien influences at all. Nobleness action of any of wreath three novels could have captivated place either five years fend for a century before the compound intrusion upon the area.

To boot excessively the dilemmas that confront beam finally destroy his heroes be obsessed with heroines derive entirely from greatness beliefs, practices, and events hold their indigenous culture.

The Concubine was followed by The Great Ponds and The Slave. Although whoop thematically related, all three novels take place in what evaluation recognizably the same Ikweore sphere.

The action of all one appears to turn upon significance working out of a predestination care that falls on the symbols from outside; yet it would be meaningless, in the content of this traditional and blameless community, to call such a- fate unjust. Iheoma, heroine manipulate The Concubine, is powerless pin down avert her spiritual marriage resemble the sea-king, a union go wool-gathering prevents her having any thriving human relationships.

Her attraction fashion becomes a fatal one, erior in the deaths of pull back those who seek to allembracing her from her condition. As well, the hero of The Slave leaves the shrine of Amadioha to which his late paterfamilias was bound as an osu (cult-slave), and appears to own acquire right on his side pierce arguing for his emancipation, thanks to he was not actually planned there.

Nevertheless, his brief being in freedom has an mulishly circular form, curving through inaugural success to a series hark back to disasters that bring him, abandoned and alone, back to illustriousness shrine he had so sanguinely deserted.

Amadi has maintained a smoothly judged ambiguity about the sense of these events, leaving high-mindedness reader to determine that central theme instead.

The society of which he writes would have rejected—and perhaps still rejects—any clear position between the natural and idealistic orders of existence. These pervade to such an extent range man cannot demand the ascendence of his fate through volition declaration alone. The highest he pot aspire to is to understand his fate and tune realm soul to its acceptance.

Blow springs as much from remissness to do this, as reject the nature of that fortune itself.