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Spike Magazine

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<strong>Spike</strong> | 15 YEARS OF BOOKS, MUSIC, ART, IDEAS | www.spikemagazine.com<br />

most vocally hostile, accusing Tutuola of being intellectually<br />

colonized by north-western consumerism, failing<br />

to oppose the colonial mindset in any way and failing<br />

to demonstrate an authentic Yoruban voice on virtually<br />

any count. Ironically, Byrne and Eno faced analogous<br />

calls of cultural imperialism on their musical safari.<br />

Tutuola’s disinclination to honour his sources also sees<br />

him branded as a plagiarist. Other critics were peeved<br />

at the rough nature of the author’s writing style, afraid<br />

that it would indeed stereotype Africans as intellectual<br />

BUY Amos Tutuola books online from and<br />

primitives. In recent years, some Nigerians such as the<br />

author Ben Okri have reclaimed Tutuola as a heavy<br />

influence and some academics, such as David Whittaker<br />

have attempted to place his work beyond a strictly<br />

post-colonial framework. Actually, it is precisely a lack<br />

of authenticity that makes The Palm-Wine Drinkard<br />

such a thrilling novel to me. It is folk culture’s erratic<br />

evolution – a kind of Chinese whispers – that makes<br />

it so resistant to the authenticity that so many seem to<br />

want it to represent. �<br />

528<br />

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