02/03/2024
A Review of Samuel Aondover Avavikpa’s SEEDS OF MISERY
By
Terese Uwuave
How can one describe the sudden and mysterious death of a promising young man who just completed his university education and is awaiting for his NYSC? How can such a tragic news be related to his mother, who since the death of her husband, has gone through hell to ensure that her son gets the university education? And as there is a traditional belief in Tiv land that one’s death is caused by another, how should the young man’s uncle who is accused of causing the tragic death be handled? These are the salient questions that a reader confronts at the very beginning of Samuel Aondover Avavikpa’s Seeds of Misery.
The novella captures the bitter experiences of the Kua family who are plagued by series of untimely deaths, believed to have been initiated by Kua’s brother. The death of Mr Kua, his three children; a son who died on his matriculation into a college of education, a daughter on the day of her traditional marriage, and another son who dies while waiting for his NYSC, are notable paintings of intense sorrow and misery. Understandably, it can be submitted at first, that Avavikpa’s choice of a title is fitting and proper as it encapsulates the essence of the narrative.
One of the most exciting features of Avavikpa’s Seeds of Misery is the relevance of the themes the novella patronises. The exhaustive treatment of superstition which constitutes the major theme of the book is a reflection of the currency and impact that superstition has continued to play in the lives of not just Tiv people but the entire Africans as a people. This is a thematic preoccupation that cannot be exhausted by writers as it has continued its deadly manifestations in the thinking and actions of Africans. In Tiv land in particular, object poverty, excessive jealousy, mysterious and untimely deaths which culminate into underdevelopment are painful manifestations of superstition and witchcraft activities. Considering the havoc caused by this ill, it is more rewarding to find a committed, observant and watchful writer in the person of Avavikpa, confronting this ill. It must be acknowledged that the author equally examines other important themes such as death, culture and tradition as well as the misery that characterise life on earth. The author’s abhorrence of untimely death is clearly shown in the way he paints it with sorrowful and condemnable images. The relevance of these themes therefore, cannot be over emphasised, and this gives the narrative an enduring quality.
In terms of aesthetics, Avavikpa’s creativity is astonishing. This is demonstrated in the way he masterfully handles literary elements. Structurally, the author deploys a linear plot that is interestingly punctuated with suspense as can be seen right from chapter one. We are eager to know who Num is but this curiosity is prolonged by the author who continues to release only bits of information about the young man, creating the desired interest in the readers. Aside the plot, Avavikpa deserves commendation for his language use in that the language is not just figurative but appropriately assigned to the characters. For example, the well-polished narrative language is garnished with images of sorrow to concretize the misery of life while the elders are assigned a kind of language that is heavily infused with cautionary statements, philosophical and proverbial sayings such as “Bua u alu a tsa ga, Ka Aondo Ahur un iji iyol na ye” (8). The angry youths on the other side display a language that is revolutionary in nature. To say that this appropriate assignment of language makes the work realistic is to say the least. The narrative’s realistic posture is further enhanced by the author’s handling of setting and characters. For instance, this can be seen in the brilliant way the author paints Mbakuha, without leaving out any details. The contours of Mbakuha are so traced out that the community comes to life, with her Mbakuha Youth Development Association, Jov Market, and St Edward’s Parish, Uga, making it unforgettable. The characters on the other hands are representative as Num represents the sacrificial lamb, while the philosophical, Ayu Gusa symbolises the sage. While Tartor and Justice Fighters represent justice, the Ikpa Nors symbolise injustice and corruption.
One other fascinating trait of Avavikpa’s Seeds of Misery is the narrative’s exhibition of cultural commitment. Throughout the text, the author demonstrates so much energy in showcasing certain traditional practices of Tiv people especially as it relates to death, beliefs in superstition, witches and wizards. It is unarguable this traditional practices are historical in nature, and unlike a core historian whose primary aim is to document, Avavikpa uses these historical information to reconstruct the future. This is the tool that gives the author the ability to successfully dispel the stereotype that 'a Tiv man gives out his wife to his guest', which had not only portrayed the Tiv in a negative light but has recently generated so much controversy. In a similar historical fashion, the author recounts what many Tiv scholars regard as the Anti-Witch Craft Movements in Tiv land through the characterisation of the Freedom Fighters. However, this particular Anti-Witch Craft Movement has a leader who is a graduate and has a registered certificate, and most importantly, handles evil doers in a more respectful way as compared to the previous movements. Of equal importance is the fact that the leader of Freedom Fighters has the capacity to grant a radio interview to engage in a civil dialogue on the problems facing his people. This portrayal of the Freedom Fighters is Socialist inclined and what the author intends to achieve here is obvious: We can change our society for better if we are collectively against evil. What is amazing is Avavikpa's historical accuracy.
The fact that his rendition of Tiv traditional practices aligns with most acclaimed Tiv historical books like Akiga Sai's History of the Tiv portrayed him as a worthy writer. What else is expected of a committed writer other than this?
Though the book has few pages, it possessed the ability to provoke several interpretations and this is one trait of a good book. For example, the historical posture of the text can yield successful interpretations based on both Historicism and New Historicism. The confessions of the captured witches and wizards, of involving in supernatural activities which are traditionally considered real constitutes a discourse in Magical Realism. It is also true that Avavikpa's Seeds of Misery will be useful in philosophical discourse while its exquisite use of language will interest a Formalist.
Finally, Avavikpa's Seeds of Misery is a timely reminder that Africa in general and Tiv nation in particular must cast away all aspects of superstition as they are inimical to growth and development. This message is educative, instructive, and life changing. And it comes together with entertainment and with what Roland Barthes calls 'or****ic pleasure'.
