Ken Saro-Wiwa. Toyin Falola

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       Introduction

      On November 10, 1995, Ken Saro-Wiwa’s life ended on a hangman’s noose in a prison in Port Harcourt, the victim of one of the Nigerian “Kangaroo Courts” he so enjoyed satirizing. His death, along with eight other activists in the Movement for the Survival of the Ogoni People (MOSOP), catapulted the Ogoni plight to global awareness. The Ogoni Nine, as they became known, were victims of an alleged conspiracy between Shell Oil and the Nigerian military dictatorship headed by General Sani Abacha to silence MOSOP and Saro-Wiwa, one of the most vocal critics of oil exploitation in Nigeria and the environmental costs to the Ogoni people.

      Though Saro-Wiwa is best remembered for the activism that cost him his life, he was famous both in Nigeria and abroad for his many achievements. As a respected author, playwright, poet, and television producer, Saro-Wiwa helped redefine the Nigerian novel, creating a body of work that was consciously Nigerian in its conception rather than based on ethnic identity. His memoirs and journalistic work shed light on the ideas he formed as a young man and his political activities during the Nigerian Civil War, when he became military governor of Rivers State and served on the council that helped create the postwar administration. When he felt he could no longer work within an increasingly corrupt and patronage-based system favoring the larger ethnic groups in the country, he left government work and turned to the private sector. Through a series of businesses culminating in the Saros Publishing and Holding companies, he used his private sector wealth to further his goal of creating a Nigerian consciousness that would not be fragmented into Ogoni, Eastern, Christian, or Southern Nigerian cultural manifestations.

      Above all, Saro-Wiwa was a nationalist. Throughout his work and personal experience, he learned to love the English language because it made his work accessible to a broad and receptive audience. He regarded English as the unifying language of Nigeria, one of the most ethnic and linguistically diverse countries in the world. He was not an Ogoni nationalist or separatist, but a Nigerian nationalist, albeit a reluctant one. He fought not only to incorporate his people into Nigeria, but to create a Nigeria that would accept all ethnic groups in Nigeria as equal partners in the country.

      Although it is possible to examine Saro-Wiwa’s life in segments, to do so distorts his legacy. He lived and died dedicated to Nigerian unity and attempted to create a nation out of the fragmented state. All his work in government, entertainment, literature, and activism focused on that goal. In life and death Saro-Wiwa confronted what he saw as the injustice of a Nigerian system that rewarded corruption, nepotism, and regionalism at the expense of merit and minority rights.

      Ken Saro-Wiwa was a prolific author who left his mark on the literary world as early as 1973 when his first play, The Transistor Radio, was published and produced. His stature as a writer, producer, and journalist gave him a platform to voice his views on Nigerian unity and the place of minorities within the country. His crowning achievement, the hit television series Basi and Company, was a landmark work for Nigeria. For the first time, there was a program that was entirely Nigerian, with characters that all Nigerians could recognize and relate to. Though Basi (aka Mr B) occupied a country not of his own creation, Basi made the postcolonial state his own. Similarly, Nigerians needed to coexist in a federation that provided security for all groups, no matter their size and influence. This idea permeated much of Saro-Wiwa’s work and gives us a lens СКАЧАТЬ