‘Blossoms of the Savannah’ thrives on simple language

H.R. Ole Kulet uses several stylistic devices to tell his tale of the Kaelos family, writes LUCY KAMAU

In literature, style is an important aspect that writers use to communicate. It is through style that one can distinguish one writer from another. To reach beyond ink to readers, one has to use captivating stylistic devices. Through style, a writer is also able to create mood and tone.

The novel The Blossoms of the Savannah by H.R. Ole Kulet has employed simple language that is rich in depth and meaning. The text employs various stylistic devices such as vivid description, similes, metaphors, code switching, flashback and irony, just to mention some. This article will focus on vivid description, dialogue, and flashback.

Vivid description has been employed extensively in the novel. The description of Nakuru Town with a rowdy clatter that assaulted one’s ears is later contrasted with the serene Nasila.

The sight that welcomes one in the morning is of figures of men and women hurrying to work and uniformed schoolchildren, with rucksacks on their backs, jostling as they alight from one matatu and board another (pg1). On the other hand, matatu drivers are hooting and revving their engines noisily. The touts shout themselves hoarse while banging the body-works of their vehicles.

BREATHTAKINGLY BEAUTIFUL

In Nasila, however, one wakes up to tranquillity and serenity. The morning is characterised by a lively chatter of birds, intermittent crowing of roosters, a cool fresh breeze, mooing of cattle and bleating of sheep (pg14).

The new home of the Kaelos is also vividly described, painting a clear image in the readers’ mind. It is so breathtakingly beautiful that they could only have imagined it in a fantastic dream. The sprawling homestead has squat robust ilopon trees. Clusters of oleleshua, osinoni and olkirrpanyany bushes dotted the compound and the stone perimeter wall, a blaze of bougainvillea climbers in red, cream and purple (pg31).

The homecoming ceremony is described in detail from the foods prepared, the various dances and the beautifully adorned revellers. In the living room stood four long tables with the most astounding array of food; large trays laden with huge chunks of boiled meat, lamb chops grilled to a golden brown colour, succulent pieces of pink-roasted liver, choice pieces of meat on skewers and others wrapped in sacred oloirien leaves.

The young men sing and perform a dance each vying to outdo the other. The children perform an exciting dance with the boys forming a semicircle and the girls a line. They weave into an intricate pattern, hands touching and dropping, their eyes demurely downcast. The boys chant and sing a refrain as the girls glide like ducks upon water.

The revellers are described as ivory adorned with bejewelled fingers, bare shoulders gleaming in the light, multi-coloured beads ornaments glittering on elaborately bedecked necks, pendulous ilmiintoi of all colours dangling on extended ear-lobes, bright colours of lessos, kangas and red shukas and multi-coloured blankets turning the Ole Kaelo living room into a kaleidoscope of shifting light and colour. This description highlights the rich Maa culture and tradition.

Dialogue has been used in this novel to develop the plot, reveal themes and character traits. The dialogue on page 3 between Taiyo and Resian shows their mixed emotions as they pack to leave Nakuru. This enhances the plot of the story and brings out character traits.

DEFIANT

From the dialogue, Resian is portrayed as defiant since she does not to work at the shop. She is also determined to go back to Nakuru to join Egerton University to take a course in veterinary science and become a veterinary doctor. Kaelo is depicted as stubborn from the dialogue. When Resian implores Taiyo to persuade their father to allow them to go back to Nakuru to join the university she says that she cannot promise that with certainty, as they knew the stubborn nature of their father.

The defiant nature of Resian is also seen on page 76 when she wants to know why they have to go to all these lengths to please some lazy bunch of busybodies who do nothing but lounge about in the living rooms, yawning and stretching, waiting for tasty food to land on the table. She refuses to be solely taught to please male counterparts. She feels that they can also cook and should learn to please the females, too.

The dialogue between Mama Milanoi and Simiren exposes the theme of tradition. This is when Taiyo is seen conversing with Joseph Parmuat. They are considered brother and sister since they are from the same clan of Ilmolelian and the sub-clan of Iloorasha-kineji. It was, therefore, an abomination and a taboo as their illicit contact was bound to have untold consequences on the whole clan.

From various dialogues, Ole Kaelo is portrayed as short tempered. On page 64, he cuts in sharply to tell Resian to sit up straight like a respectable girl. He says: “Look at the way you slouch and slump in that chair like a good for nothing lout! I’ll will not be surprised if you soon become a hunchback!”

On page 181, when Taiyo inquires if Oloisudori took part in funding the shop, he snaps showing signs of a rising temper. On page 209, during a conversation with Resian, he loses temper and slaps her face, sending her reeling back. He says that should teach her never to talk like that to her father. Her father, in an angry growl, informs her that he has taken dowry from Oloisudori and she was now his wife whether she liked it or not.

WOUNDED HEART

Flashback is used in the novel to give the reader more information about past events, thus enhancing the plot. Taiyo remembers her own recent battle with her father when he denied her permission to travel to Mombasa with other young men and women to attend an extravaganza. It leaves a raw wound in her heart.

The children’s performance during the homecoming reminds Taiyo of her high school days. She recalled the numerous occasions when she excelled in music festivals and was awarded and garlanded. Broadcasting stations recognised her talent and encouraged her to take music as a career. She had assumed her parents, who on many occasions applauded her when she won trophies, would not have any objection if she pursued music as a career.

When an F.M Radio Station offers her a chance to attend an extravaganza and a short course thereafter, her father is furious. He refuses to grant her permission and disallows any further discussion on the matter, crushing any hopes for her for music as a career. He says no daughter of her would demean herself as to perform publicly in exchange for money.

Mama Milanoi, through a flash back, remembers her women friends from Nasila had asked very intrusive questions regarding her daughters. It dawns on her that these could be the mothers of her would-be sons-in-law. They had called them intoiye nemengalana contemptuously.

Mama Milanoi realises that the status of her daughters will be an issue in Nasila, where female circumcision is treasured. Mama Milanoi remembers when she was young that being uncircumcised was unheard of. A girl who got pregnant before being circumcised could be circumcised when giving birth and given off to marriage to the oldest man in the community.

Ole Kaelo’s dislike for Resian is shown through a flashback. When his wife gets pregnant the second time, he prays for a healthy baby boy who would carry the Kaelo’s name to the next generation. He is utterly disappointed to get another baby girl. From the moment she is born, mute and helpless, he detests her. Her very sight enrages him.

Her arrival and continued stay in her father’s home remains unwelcome and detested. Furthermore, her physical appearance angers her father. Her body blossoms early and signs of early womanhood are evident.

Resian remembers the day the enkamuratani visited their house. When Taiyo had asked her to show them her tools of trade, she had sprung with the agility of a young woman and dashed swiftly to where she had left her bag. She had fished out a dirty oilskin that she held aloft triumphantly, grinning and staring at them.

The olmurunya created a permanent traumatic image in Resian’s mind. She demonstrated to them how she went about her profession transforming young girls into young women.

In conclusion, dialogue, flashback and vivid description are just but a guideline. Learners are encouraged to explore the other styles in detail as they prepare for the national exams.

The writer teaches literature at Alliance Girls High School. [email protected]