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Cyprian Ekwensi, 1921-2007
by Joe Face, Account Processor

The death of Cyprian Ekwensi, a Nigerian writer of some prestige, on November 6, 2007, both ends and renews an on-going debate for literary giants. The issue is that of contemporary fiction, and its place in the world of art.

Mr. Ekwensi described himself as "an artist of the masses." In this way he differentiated himself from compatriot Chinua Achebe, choosing a path to entertain and enliven his audience, rather than attempting to educate or reform. His countless novels and short stories were wildly popular throughout Africa and abroad: "Jagua Nana," a story of an aging courtesan who adores the wild high-life her practice can afford, is rich with themes that seem straight out of a Hollywood movie: sex, political intrigue, violence, even a happy ending makes an appearance, though not at the expense of others.

Perhaps the best way to describe the impact of Ekwensi's death upon his millions of followers is a listing of the tributes being paid to him as various news sources, message boards, and literary magazines obtain the report of his passing:

The Charles Dickens of Africa One of the Grand Old Men of African Literature. One of the nation's greatest literary writers A Great African mind The Great Drummer Forefather of the (African) city novel A fine man with a fine mind Your favorite storyteller
Cyprian Ekwensi was born September 26, 1921, in the Northern section of Nigeria. Surprisingly, he attended the Chelsea School of Pharmacy in the United Kingdom, graduating in 1956, and spent much of his professional career outside the role of author. His resume includes that of writer, pharmacist, teacher, forestry officer, journalist, and department heads for various ministries and corporations (Federal Ministry of Information, Nigerian Broadcasting Corporation).

Critics the world over continue to debate his legacy as a significant spreader of the Nigerian art form. Bernth Lindfors wrote in a 1969 critical review that, contrary to the positive reformation nature of art, "it is always clear to the reader that he (Ekwensi) is more interested in the vice than in virtue and that he aims to titillate as well as teach." For many readers though, the death of Cyprian Ekwensi is the death of a man who could teach them through his stories; his common-sense use of language and his ability to create characters that an audience could care about allowed him a privilege that not all literary masters can claim: lessons learned are not always passed from the writer to the reader, but from the writing. Inasmuch, Ekwensi's goal was to captivate first, and then allow the audience to learn on their own.





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