Spirits and sins: Comparing magical realism in Okri’s ‘The Famished Road’ and Osabo’s ‘Whispers of Gods’

By Umar Mohammed Osabo

THE genre of magical realism, often blending the fantastical and the real in ways that question conventional narratives of reality, has been a prominent feature in the exploration of African literature. Two compelling works that provide a deep dive into the complexities of African existence, the tensions of spiritual and physical realms, and the struggles for survival amidst societal corruption are Ben Okri’s The Famished Road and Umar Osabo’s Whispers of Gods. While both novels engage with the genre of magical realism, their treatment of this framework offers a nuanced critique of Nigerian society, focusing on themes such as corruption, the Abiku syndrome, religious satire, and the unending suffering of the people. Through these lenses, this essay aims to compare the thematic concerns and stylistic choices in both novels, exploring how each writer uses magical realism to navigate the complexities of their cultural and social realities.

Magical realism, as a literary genre, is defined by its portrayal of a reality that is enriched by the supernatural, without drawing clear lines between the two. In this genre, magic exists alongside the everyday, often influencing or altering human lives. Latin American authors like Gabriel García Márquez popularized the genre with One Hundred Years of Solitude, among others, but it has been adopted by African writers to reflect unique cultural and spiritual traditions. Both The Famished Road and Whispers of Gods use magical realism to explore the intertwined realities of the physical and spiritual worlds, each reflecting the social and political conditions of contemporary Nigeria.

In The Famished Road, Okri’s protagonist, Azaro, inhabits a liminal space between the living and the dead, experiencing both the physical world and the Abiku (a spirit child) realm. This dual existence reflects a complex relationship between the two worlds, where the boundaries are porous and often shift. The novel’s narrative is steeped in dreamlike sequences, symbolic figures, and spiritual encounters that operate within the framework of magical realism. Okri’s writing is immersive and surreal, where reality is constantly interrupted by visions, omens, and interactions with spirits that represent the deepest fears and desires of the people.

In a similar vein, Whispers of Gods by Umar Osabo also employs magical realism, though with a slightly different emphasis. While Osabo’s narrative is grounded in the political landscape of Nigeria, the supernatural elements are used as metaphors for the spiritual and moral decay of the country. In Osabo’s work, the gods, spirits, and shrines are not mere fantasy elements but embody deeper societal issues, such as corruption, religious hypocrisy, and the struggle for power. The characters in Osabo’s novel are often caught between the physical and spiritual realms, making it difficult to distinguish what is real and what is imagined.

Both Okri and Osabo use magical realism as a tool to critique the rampant corruption and moral decay in Nigerian society. In The Famished Road, Azaro’s journey through the streets of a poverty-stricken neighborhood is punctuated by moments of violence, exploitation, and political unrest. The novel portrays a world where the ordinary people are exploited by political elites and spiritual leaders, while the ruling class is depicted as corrupt and self-serving. Through Azaro’s eyes, the reader sees the intersection between the material and spiritual suffering of the people, where the road to survival is marred by greed and corruption. Okri critiques the inability of the political and religious institutions to alleviate suffering, presenting a world where the forces of greed and corruption constantly undermine efforts to improve the lives of the poor.

In Whispers of Gods, the theme of corruption is equally pronounced. The novel centers around the struggles of a young man, Otebo, who is caught in the crossfire between corrupt politicians, self-interested religious leaders, and the marginalized people of his village. Osabo uses the character of Obunwayo Shrine, particularly the figure of Oboshi, as a symbol of the corrupting influence of both political and religious power. The shrine, initially a place of hope and guidance, becomes an instrument of exploitation. The priests who should serve the community become part of the system that perpetuates inequality and suffering. Through this, Osabo criticizes the ways in which religion and politics often merge to maintain oppressive systems.

The Abiku syndrome is a key theme in both The Famished Road and Whispers of Gods, serving as a metaphor for the cyclical nature of suffering and death in African society. In The Famished Road, Azaro is an Abiku, a spirit child who is born, dies, and returns to the world multiple times. His constant return symbolizes the unending cycle of suffering, as the characters around him are trapped in poverty, violence, and political turmoil. The Abiku syndrome becomes a metaphor for the social and spiritual death that plagues the people in Okri’s world. Azaro’s repeated deaths and resurrections suggest the inability to escape from the cyclical forces of destiny, which are shaped by societal corruption and spiritual decay.

In Whispers of Gods, the Abiku syndrome is not as explicitly developed as in The Famished Road, but the theme of cyclical suffering is still prevalent. Otebo’s struggle to find meaning in a world where the gods whisper in his ears but remain silent in the face of injustice mirrors the Abiku’s endless returns. The society in Osabo’s novel is marked by a cycle of spiritual and material death, where the people are caught in a web of religious exploitation, political corruption, and personal despair. The concept of rebirth is subverted here, as the promise of renewal through spiritual or political change is unfulfilled, leaving the people in a perpetual state of suffering.

Religion plays a significant role in both novels, though it is often portrayed in a satirical light. In The Famished Road, Okri critiques the way in which religion is used to manipulate the masses. The gods and spirits are not portrayed as benevolent forces but as entities that are indifferent to the suffering of the people. The religious leaders, too, are often corrupt, using their influence for personal gain. Azaro’s journey through the world is shaped by encounters with various spiritual figures who offer little in terms of solace or guidance. Okri’s portrayal of religion is thus deeply ironic, as the very forces that should provide spiritual sustenance are part of the machinery of oppression.

Similarly, in Whispers of Gods, Osabo offers a biting critique of religion through the character of Obunwayo Shrine. The shrine, initially a sacred place of worship, becomes a site of corruption and manipulation. The priests who should serve the people become complicit in the social and political decay, and the gods themselves are portrayed as distant and unresponsive to the pleas of the suffering. The character of Oboshi, the priest of Obunwayo Shrine, is emblematic of this corruption. He is a figure who, while outwardly appearing pious, is deeply enmeshed in the politics of power and exploitation. Through Oboshi, Osabo exposes the hypocrisy and moral bankruptcy of the religious establishment.

Okri’s style in The Famished Road is marked by lush, poetic language, dense with symbolism and metaphors. His prose often blurs the line between the real and the supernatural, creating a dreamlike atmosphere that immerses the reader in the spiritual landscape of the novel. The diction is lyrical, with a rhythmic cadence that mirrors the flow of Azaro’s journey between the living and the dead. Okri’s use of magical realism is not only a narrative strategy but also a stylistic choice that enhances the thematic concerns of the novel, allowing the reader to experience the characters’ suffering on a visceral level.

Osabo’s style in Whispers of Gods, on the other hand, is more straightforward but equally powerful in its portrayal of the moral decay of society. While the language is not as overtly poetic as Okri’s, Osabo’s use of dialogue and descriptive passages effectively conveys the bleakness of the world he is depicting. The diction is sharp and often sarcastic, particularly in the satirical portrayal of religious figures and politicians. Osabo’s use of magical realism is more rooted in the political landscape, with the gods and spirits acting as metaphors for the invisible forces that shape the destinies of the characters.

In Whispers of Gods, Osabo engages with the idea of an African Renaissance, offering a critique of the notion of hope and renewal in the face of systemic corruption. While many African writers have explored the theme of an impending renaissance, Osabo presents a more cynical view. The promise of change through political or spiritual awakening is constantly undermined by the entrenched powers that govern the lives of the people. The gods, who are supposed to guide and protect, are silent or indifferent to the struggles of the people. Through the figure of Otebo, Osabo questions the possibility of an African Renaissance, suggesting that until the forces of corruption and exploitation are addressed, any hope for renewal will remain illusory.

Okri’s The Famished Road and Osabo’s Whispers of Gods both use magical realism to address the pressing issues of corruption, suffering, and religious exploitation in contemporary Nigerian society. Through their complex narratives and rich symbolism, both authors offer a critique of the socio-political landscape, exposing the ways in which spiritual and material forces shape the destinies of the people. While Okri’s novel presents a world where the supernatural and the real coexist in a fluid, often surreal manner, Osabo’s work is more grounded in the political realities of Nigeria, using the gods and shrines as symbols of corruption and decay. Together, these novels offer a nuanced perspective on the struggles of the African people, providing a powerful meditation on the intersection of politics, religion, and spirituality in shaping the modern African experience.

Dr. Umar Mohammed Osabo

* Dr. Osabo, renowned as a novelist, playwright, poet and journalist, currently serves as a research fellow at the Institute of Global Development Psrnership in the United States. Whispers of Gods can be purchased on Amazon