The flow of style turns ‘The River and the Source’ into an interesting classic

In the novel The River and The Source by Margaret Ogola, the author has used simple, clear language. However, as events change, so does the language.

The first two parts display constant code switching, language use and wise sayings derived from the Luo community. Progressively, the language used evolves to include modern expressions, medical jargon, some Swahili words as well as religious and academic terminology.

This is called style.

Styles are the spices a writer uses to make the novel tastier to the reader. Some of the styles she uses include humour, irony, imagery, dialogue, vivid description, foreshadowing, flashback and contrast, just to mention a few.

DIALOGUE

The author could have used plain narration, but dialogue helps to reveal character, reveal the intentions of her characters, to free the reader from the likely dullness of uninterrupted prose and also to place the reader more presently at the centre of events. Dialogue is also important because it reveals a character’s worldview.

Among the main dialogues taking place in the novel is when Chief Odero Gogni informs the Council of Jodongo of his decision to set a huge bride price for Akoko (pg 20-21). The chief states strongly, to the shock of even his spokesman, Aloo K’Olima, that young Chief Owuor Kembo should pay 30 head of cattle in exchange for Akoko’s hand in marriage.

This dialogue reveals that Chief Kembo is uncompromising. If the chief’s love for his daughter was ever in question, it is beyond doubt after he asks for so much from her suitor.

Closely related to this is the dialogue between young chief Kembo and Otieno Kembo, spanning pages 22-23. This dialogue is important in revealing the brothers’ attitudes towards women. The chief, on one hand, places a huge premium on his first wife. We get to learn from this dialogue that he intends to meet Chief Gogni’s exaggerated demand.

His brother, on the other hand, is firmly against meeting that demand. This dialogue is also important because it is the first tip-off and the basis of the hostility which will arise between Otieno and Akoko after the chief’s death.

The dialogue between Vera and Becky on page 218 is also very significant for several reasons. Firstly, it takes place just after Vera has turned down Tommy Muhambe’s request at marriage. Secondly, the two sisters, before this, have been separated for three years after Becky ran away from home. This separation is clear even in this dialogue.

Finally, this also happens to be the longest dialogue in the entire text. It pretty much sums up how the characters of both Becky and Vera have developed in opposite directions in the course of this separation. On one hand, Becky seems very practical, manipulative and contemptuous of people, especially Tommy. Vera, on the other hand, comes out as the loving, naive and emotional type.

IMAGERY

The writer has also employed imagery in the text. The foremost purpose that imagery serves in any text is to leave an indelible imprint on the imagination of the reader. A good imagery creates a mental picture. These images, when powerfully employed by the writer, can help readers involve themselves in the events that surround the characters, the depth of emotion that the characters derive from them and even the prevailing mood. If it’s indeed true that a picture speaks a thousand words, some of the pictures Ogola creates seem to exceed that.

The simile “…of what use was this life if one could be snuffed out like a poorly lit fire?” shows Nyaberas depth of despair in the face death (page 64-65). “Men live with their wives like cats and dogs, ravens and chicken. But not the son of Kembo” (page 69) shows Akoko’s regard for her husband and the pain she is experiencing after his death. The line “she is as fleet as a gazelle” (page 21) also goes to emphasise Akoko as an obedient girl. It also sets the pitch for the astronomical bride price that is demanded later.

METAPHORS

A number of metaphors are also used in the text. The statement “…a monogamous man was an unknown animal…” shows how the rest of the community viewed chief Kembo’s decision to marry one wife. It is also a comment filled with a sense of foreboding as the reader soon witnesses. The phrase “there is no greater psychologist than one who graduates from the hard school of life” (page 63) also tells us how Akoko has always sought to overcome tragedy and how she will instill the same to her daughter Nyabera who at this time is distraught and trying to come to terms with Obura’s death, a brother she dearly loved.

PERSONIFICATION

There is also the use of personification in the text, its main intention being to try and humanise nature. On page 81, it is stated that “The trees whispered conspiratorially.” This goes to show the great danger Akoko was putting her nephews Opiyo and Odongo through so as to get to Kisuma. It also shows her determination and courage thereof. Also “…you could have heard the ants talk, so great was the silence” shows just how much tension there is in the room. It also shows how much importance both sides were taking the issue of Akoko’s marriage.

CONTRAST

The writer has also employed contrast to great effect. The main purpose that contrast serves is to widen the gap between expectation and reality. In this sense it can create tension, surprise and unpredictability. Tension sustains the readers interest in the novel because the reader wants to know how disputes will be resolved.

The first contrast of note is the one between Obura and Owang Sino. On one hand, Obura is active noisy and inquisitive. On the other hand Owang Sino is quiet and reserved. In fact, his mother considers him (Owang Sino) as ‘a welcome respite’ from his siblings and one who was easier to please (page 47).

In a perverse way, their characters are a fitting match for the deaths that they experience later. Obura, on one hand, loses his life in the heat of battle, fighting for the white man, against his parents’ desires. Owang Sino, on the other hand, dies a tame death after choking on fishbone while having his evening meal. This contrast shows how fate conspires to ensure Akoko has no son eligible to inherit the chieftaincy and, therefore, heightens the tension in the novel.

Contrast is also used effectively in the novel to clearly bring out character and reveal plot. This is the case with Vera and Becky (page 173-174).

The writer emphasizes the contrast between Vera and Becky by stating that they “arrived within minutes of each other” (page 165). It, therefore, confounds the reader that children born in such identical circumstances should turn to be “completely different from the first day” (page 165).

This contrast is important because it creates tension. The reader wants to know how children who are so similar and so different at the same time turn out later in life. The writer answers this in page 173-174 by stating that Becky became selfish, lazy and hateful while her sister, Vera, turned out to be generous, industrious and friendly.

Another contrast worth a look is that between Chief Owuor Kembo and his brother, Otieno Kembo. The former is loving, firm and feministic. The latter is hateful, selfish and cowardly. This sets us up for the clash of personalities we witness at the time chief Owuor Kembo wants to get married. This contrast creates tension and unpredictability at the time.

Later, after the chief’s death, his brother’s undesirable qualities are in full bloom and they, to a large extent, advance the plot, create tension and help bring out the strongest qualities of Akoko.

Summary

In summary, Margaret Ogola’s literary genius is seen in her effective use of a broad range of styles. Among the most commonly used are dialogue, contrast and imagery. They help, among other functions, to reveal character and advance plot. Students are encouraged not only to learn how to identify these among other styles but also to question why the writer chose to use them. This way they can also learn to use styles effectively and appropriately in their own writing rather that applying them merely for the visual appeal.

The writer is a teacher at Alliance Girls High School. [email protected]

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Communism in Brecht’s book

BY EDWIN OTEYA

In the play, The Caucasian Chalk Circle, the ideals of communism have been supported. Communism is a political movement that believes in an economic system in which the State controls the means of producing everything on behalf of the people. It aims to create a society in which everyone is treated equally. In a nutshell, the tenets of this ideology are togetherness (the belief in ‘we’ and ‘us’), a classless society, equality and equity.

The fruit-growing commune (farmers) are given the valley  because they have an elaborate plan on how to use it. This is despite the fact that it originally belonged to the goat farmers. Also, Michael is given to Grusha for she took great care of him unlike his biological mother, Natella, who was more concerned with material things. This points to the fact that resources should go to those who can exploit them well for the benefit of all.

Furthermore, in the five cases Azdak handles, he ends up fining the rich and compensating the poor. For instance, he fines the rich Invalid 1,000 piasters, the Blackmailer is to hand over half the proceeds of his deal, the Innkeeper to hand over the little roan, the farmers, each is sentenced to pay 500 piasters. Yet in Natella versus Grusha’s case, he almost fined Natella for fraud, then he ruled that her estates fall to the city and that they will be converted to a children’s playground.

In all these, the attempt is to create an equal society through that balancing act of taking from the haves and giving to the have-nots.

Indeed, the brief reign of Azdak as the judge is referred to as the golden age, almost an age of justice. Justice is also taken to mean that resources are distributed and shared equally.

Oteya is a freelance writer and teaches Literature at Parklands Arya Girls’ High in Nairobi.