The Cameroonian Novel of English Expression. An Introduction: An Introduction

4. Anti-Heroes and Societal Crooks

Chapter Four Anti-Heroes and Societal Crooks Unlike the three novelists in the previous chapter who are concerned with the theme of cultural conflict between the Cameroonian way of life and the European civilization, the imaginative writers examined in this chapter (L.T.Asong, Talla Ngarka, and Nsanda Eba) are pre-occupied with the seamy side of society; that is, they artistically x-ray the sordid side of the Cameroonian community. Even though, generally speaking, one can say that most Cameroonian novelists of English expression are concerned with the moral health of their society, those studied in this chapter are particularly interested in anti-heroes, societal crooks, villains, swindlers and men of the underworld who live by their wits. The novelists take a critical, satirical look at the post-independence Cameroonian society, leaving few people unscathed. But the Anglophone Cameroonian fictional writer most fascinated with the theme of anti-heroism and societal crooks is L.T. Asong. L.T. Asong is the most prolific Cameroonian novelist writing today in English, and his seven published novels, within the last decade of the 20th century, must be seen by literary scholars as an impressive contribution to the development of Anglophone Cameroon literature. But this chapter will be concerned with only six of them, namely Stranger in His Homeland (1994), The Crown of Thorns (1993a), A Legend of the Dead (1991), No Way to Die (1993b), Salvation Colony (1997) and The Akroma File (1996). The order of analysis of the texts reflects a logical sequence of the novels within Asong’s fictional corpus. For instance, though published a year earlier than Stranger in His Homeland, The Crown of Thorns is actually the sequel to the former novel, while Salvation Colony is the sequel to No Way To Die. This chapter partly defends the thesis that Asong’s main characters in the six novels are anti-heroes, carefully conceived, in each case, to make him accomplish special artistic effects and convey a particular authorial vision (Ambanasom ‘Introducing Asong’ 185). In the conventional sense the hero of a novel should evince some or all of the following attributes: courage, dignity, decency, honesty and an essentially kind disposition. He should be one, even with a flaw, who inspires respect, admiration and even love from both virtual characters and readers alike. Often when faced with adversity such a protagonist puts up a reasonable fight or resistance. Conversely, the anti-hero is one who lacks all or most of the above qualities. In other words he often possesses but their very opposites. 78 The Cameroonian Novel of English Expression: An Introduction In the hands of Asong anti-heroism becomes a significant device of technique. And the term ‘technique,’ in literature or art in general, means ‘the working methods or special skills employed by a writer or artist in producing a work of art….how something was done’ (Holman 441). Drawing on T.S. Eliot’s insight, Katherine Lever says “technique” is ‘any selection, structure, or distortion, any form or rhythm imposed upon the world of action’ which enhances and enriches our understanding of such a world. In this regard, she goes on, ‘everything is technique which is not the lump of experience itself’ (Lever 88). Thus, technically speaking, choosing to construct his novels around antiheroes is a deliberate rather than an arbitrary artistic decision on the part of the novelist. For, it involves, with reference to his central male subjects, a careful selection, construction or distortion of the characters, meticulously building them up and then cutting some of them down to size, debunking, demystifying them in accordance with his aesthetic goal or authorial vision. Therefore, character, in this case, the anti-hero, is a device of technique just as any of the following devices of technique: contrast, leitmotif, irony, symbolism, digression, or narrative perspective, etc. In Stranger in His Homeland (1994)1 Asong has conceived an anti-hero, Antony Nkoaleck, who, despite his high level of academic attainment, (he holds an MSc. in political science) is very ignorant of the norms of his society. The result is that, for all his good intentions, he behaves like a fish out of water because he is a stranger to the ways of his society. His individual norms stand opposed to those of his society, a fact that gives rise to some interesting ironies of situation and disastrous anti-climaxes exposing him to ridicule and humiliation. After five years of study abroad, Antony Nkoaleck comes home full of honesty, enthusiasm and...