Wole Soyinka's Writing Intentions

And he is also expression that there are things which are common to any culture. Afri send aways do not have to "negate" all other cultures in order to understand their hold culture:

The African arena, alike any other "world," is unique. It possesses, however, in common with other cultures, the virtues of complementarity. To push aside this simple route to a common charitableity and mesh the alternative route of negation is . . . an attempt to perpetuate the external oppression of the black real (xii).

There are certain longings in the heart and soul of every human being, but every culture has a different way of satisfying these longings for the private and for the society of which he or she is a office. For Africa to have social, political, cultural, scotch and mythical realities which are real for its people, it must throw off European reality, but it must also keep in mind that there are certain things in the human experience which are parts of all cultures and continents. Every culture, for example, has a religious or mythical longing for the divine, for God, or a god. The literature and mythology analyzed by Soyinka contractes on unique ways that Africans tell stories so that they can understand themselves on their feature terms. For example, in the author's study of the mysteries of Ogun, the god of creativity, and the meaning of tragedy, we see African culture as something very different from the European exp

For Africans, the book and its themes are important if Africa is going to improve its development politically, socially and economically on its own, and with non-African nations. The world of governance is run according to power. Power is in part based on strong individual, national and cultural identity. If African nations base their identity mainly on European standards, or mainly in terms of relations with the European world, so those African nations will never have the power they engage to run low effectively in world politics.

This book and its themes of African "self-apprehension" in myth and literature are very utilizable for Africans and non-Africans. For non-Africans, it is important to see African culture on its own terms, in its own images and myths.

If Africa continues to be misunderstood by non-Africans, it can only lead to greater instability on that continent as African nations see to carry out hostile policies with nations which do not understand them.

The book is successful because Soyinka does what he says he is going to do. He plans to show how Africans should and do focus on "self-apprehension" to strengthen themselves and their culture, separate from European domination. At the equal time, he does not try to say that everything African---myth, story, poem---is smashing, or good for African culture. The main point is that, taken as a whole, the many pieces of myth and literature studied by Soyinka economic aid the cause of African culture.

The book does not do everything it qualification do in terms of relating literature and myth to politics and social change. However, this is not a failing of the book, because Soyinka does not try to make such connections. The book should be seen as an fervency for writers more social, political and economic than Soyinka to take his themes and carry them into their areas of study.

What is unbent in the area of literature is also true in the area of politics. An individual or a nation cannot operate effectively in i
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