So, I was chatting with a friend of mine, "we pretty much lookalike and we share the same star sign Gemini". We were engaging about the entitlement trap, that we African writers tend to unsuspectedly, unwillingly fall into the trap either consciously or subconsciously. African writers fall into this trap all in a bid to appease the eyes of their intended market which is the European literary consumer, forsaking the African consumer That in turn is the person intended to engage with the body of work as African writers we ought to tackle on the issues that interacted within our respective corners of observation. Writers "African" are visual stenographers, we write what we see in order to preserve culture, and at least usher in some sort of sanity through storytelling. That is designed specifically for the people that we interact with. This then means if the literature seeps to others corners of the world its value as a body of Afro-journal is deemed and appreciated with the lens of exoticism the rare unicorn that walks on water. When in reality it is another human being that is communicating with another human being in a common tongue that all may at least understand. however, for the African, the language "English" is expressed in accordance to what and how the African appreciates the language "AfroEbonics".
The articulation in the African way of the English language in many traditional consumers of the language is deemed out of touch or a display of an individual that does not or cannot articulate in English. When in reality in one's view it is not. However, this situation can be observed as a broken telephone phenomenon the six or nine phenomena. When the two human beings are actually witnessing something they are debating around the dynamics of the language when in reality. The language itself is a language that is being confined and conformed into the African's way of interpreting the model of language, "you can take me out of Africa but you cannot take Africa out of me". Due to colonial economic disparities, the bodies that are entrusted to preserve storytelling in one's view appreciate the traditional orthodox approach to the language when in reality due to globalization they seek to contain someone's liberty. Based on the fact that person has expressed in a manner that they do not understand, appreciate or comprehend. The adverse effects of lack of diversity within the preserved or assumed or respected global platforms intend to naturally kill the art and style of storytelling. As it is in their perspective storytelling should be articulated in the English that they deem acceptable. What this then do is that the culture of storytelling across the fibrous award ceremonies that are held in various locations and territories. Is dead, or systemically die because they emulate the European platforms of literary appreciation.
African writers tend to unsuspectedly, unwillingly fall into the trap of expressing in a manner that the "massa" approves not them approving. We African writers fall into what can be dubbed the Eurocentric gaze of being. Where we entrap ourselves in this pseudo-savior mentality of believing, understanding, deceivingly comprehending that we have the moral duty to save our creed when in actuality you are a mere negro.
The white gaze or seeking to entertain, begging for white attention creates a "Hunger games phenomenon" among African writers. When it's just a trap into believing that is where fulfillment lies as a writer. The white gaze I equate it to the stare of Medusa. If as a black writer incapacity if you stare intently into its eyes you turn into stone before you as a writer ever realize that the matter has happened. The negro phrenology has been conditioned to seek validation and excellence in the eyes of the Whiteman this is based on a plethora of suggestions that have been identified and these are colonialism, economic opportunities, market relevance, and mass appeal. Furthermore, we tend to witness a negro shepherded into a self-imposed rat race. In actual fact, it is just another negro down the lane forced into becoming a parody of some sort that is dressed up like a barbie doll and made to regurgitate what it has been programmed to speak because the mass audience loves and consumes what it desires and deems acceptable to listen before its presence.
In reality, it is nothing at all it's just another human being that is expressing their gifts before an audience.
When I take a step back confiding with myself and the reader, at times I struggle with the train of thought of seeking white approval for the type of literature that I produce just to be able to attract the intended negro audience. The reason as to why the train of thought usually trips me in many times is that. It is difficult to attract an audience that appreciates reading that appreciates literature, that acknowledges that reading and expressing oneself is a fundamental artform for any given society. Therefore in order to keep the art or discipline alive, one is forced to be not themselves when writing which is a tragedy like no other because the real writer is not being heard. In as much as one tends to reflect at the magnitude of the task at hand even generating the white appeal in order to attract the black appeal one gets to realize I am just another negro buying its time before it leaves this realm, maybe in its lifetime or not. The work that it produces might be appreciated as a body of work that has contributed something to society and humanity.
When I gaze at what I can do I am just another negro that is trying to find its place in this world, another negro that is fighting to find happiness in this world through conjuring and honing the skills of writing. In turn, I am able to find out what I have set out to do is fulfilled, not for people's approval but finding my place and purpose in this world and time, not the other way around.
Indeed the applause of mortal men is enticing. It is just another day in the world of negro, "once a negro, always a negro".
I suggest, propose, offer, submit, and think that what drives this rabid hunger to be admitted within the white gaze on African writing. It is the divide and conquers tactic, a practice that has been used for over a millennium and it is working well. With the constant focus on West African literature, yes indeed the region has phenomenal writers great icons of storytelling that have challenged the gods of literature to this day a swing of their pen still sends chills down their spine. On condensing the skill or art of storytelling from an egalitarian lens, the referee of the art of writing is the one that came with boats. Therefore the negro that writes in a manner that they deem worthy gets the praises and is showered with all the attention. If one is to engage with that theme one gets to note the one writer that is deemed worthy in the eyes of the "architects of the language" if not careful might be rewired to become a Judas Goat.
A rhetorical question is then brought to the fray, "Do people understand African literature? Do people comprehend that art has a plethora of facets?"
It, therefore, creates a ripple effect across the continent where approval when in actuality the African writer in its capacity it is enough. African stories are vast and have a different approach to the language. Art is a matter of perspective. It is not for the quick wins it is for the long haul and one has to be patient "including me as well"
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