Elechi Amadi has once been described as a somewhat sly writer. His books have a deceptive calm pastoral beginning and then lurch unexpectedly into the murky and unanswered territory of life’s difficulties. No heartwarming endings for him. In an inimitable world-weary style, his books rank in quality and tone with the great Achebe’s. Then why was he relatively less known? it is a typical irony that could be posed by one of his characters.
‘The Concubine’ has been a staple of reading lists in Nigerian secondary schools. The tale of the hapless Ihuoma and her suitors was spun across a lavish backdrop of pre-colonial life in South – East Nigeria. Dignified and moving, the story has earned a well-deserved reputation as a classic.
Now in ‘The Great Ponds’ Amadi is still wonderfully in his element in describing the conflict between two villages over fishing rights in a stretch of bountiful waters known as the ‘Great Ponds’. The ponds are so full of water that in the rainy season one could stand on a raft to reach the palm trees. Amadi introduces this story like a folktale, Olumba the strong man of Chiolu must lead an expedition to stop the poachers of Aliakoro village. His opposition is led by Wago the leopard killer; vicious, fanatical and crafty just like the spotted cat whose hide he wears. The ideals of Ibo manhood are celebrated here – men must fight and enjoy being warriors. The ‘good guys’ must win right? Reprisals and counter reprisals between the two villages ensues – the battle scenes are described thrillingly – until the tale gradually snowballs to its inevitably dark turn.
The effects of the supernatural and the influence of the gods have always been a theme in Amadi’s writings. The warriors are brave but perhaps they need the gods to assist them in fighting battles. At what point does Man’s strength fail and the capricious gods take over?
Finally, both villages are exhausted by the conflict and Olumba takes an oath under the dreaded deity Ogbunabali as a peace offering. If he dies within six months, then the ponds will belong to Aliakoro. The psychological strain of such an avowal takes its toll on him and the strong man weakens or perhaps by the spells of the dibia of Aliakoro. But then Amadi clearly describes the effects of this war on the worst- hit – women, children and elderly people. The effects spiral out to innocent neighbouring villages, leaving economic hardship, kidnappings and sorrow in its wake. Everyone suffers, the guilty, innocent and unconcerned.
Destruction is the infallible winner in this tragedy and the demented and venomous Wago commits suicide in the ponds of contention ‘with a chilling sneer on his face’ thereby rendering the waters tainted and unusable since suicide is regarded as one of the worst taboos. But there is worse to worry about as the story ends with the beleaguered Olumba realizing that the Great Influenza of 1918 is arriving to cause more deaths – as Amadi flatly states as a final declaration.
So what is Elechi Amadi’s theme? The sombre effects of war or reckless chest-puffing masculinity? Well, it’s not much fun to turn the other cheek either. Or perhaps the futility of Man’s existence against life itself? Yet however misanthropic ‘The Great Ponds’ is, it remains a richly engaging tale told with his uniquely dispassionate style. Those great ponds, rich and teeming with fish which could only produce so much tragedy and affliction.