Biyi Bandele Who Came In From The Back Of Beyond

Uzor Maxim Uzoatu

He started out as Biyi Bandele-Thomas, and shocked the literary world with his amazing precocity.

He was admitted to my alma-mater Great Ife (University of Ife, now Obafemi Awolowo University) after I had graduated from the school where Prof Wole Soyinka was our Head of Department.

The fire of creative arts burnt in him relentlessly, and he was from the beginning determined to conquer the world of literature.

He won the International Student Playwriting Competition with his play “Rain”, and travelled to London to receive the prize and did not return to his studies at Ife.

He then in 1991 published his first novel, The Man Who Came In From The Back Of Beyond, that featured the younger brother of my classmate and friend, Owei Lakemfa, as the fictional protagonist named Lakemf.

His play, The Female God and Other Forbidden Fruits, was in 1991 broadcast on the BBC World Service.

In his second novel, The Sympathetic Undertaker And Other Dreams, there is the story of the First Lady Mamagee of a country called Zowabia who poses for a photograph with a group of monkeys only for the editor of Zowabia News to write the caption thusly: “In the picture above, the Lady Mamagee is standing third from right.”

The poor editor was beaten to a pulp by irate State Security people for stating that “the Lady Mamagee – First Lady for short – was standing third from right or even right from third in a picture which she took with monkeys, and to wit, in a picture in which she happened to be the only human being!”

He was in 1992 awarded the coveted Arts Council Bursary in Britain to support his creative writing drive.

He extended his frontier to screenplay writing when he penned Not Even God is Wise Enough produced by the BBC.

Born in Kafanchan in 1967, Biyi Bandele has made a great career of publishing novels, writing and directing plays, shooting still photography, and making movies.

He earned plaudits for his theatrical work on Chinua Achebe’s Things Fall Apart, the filmic rendition of Chimamanda Ngozi Adichie’s Half Of A Yellow Sun, and a Yoruba language adaptation of Wole Soyinka’s Death And The King’s Horseman entitled Elesin Oba – The King’s

Horseman scheduled to premiere at Toronto International Film Festival this year.

It was such a shock hearing of the death in Lagos on Sunday, August 7, of the all-round man of the creative arts I fondly called Boy Biyi.

We always had our animated discussions on all aspects of the arts in the Surulere, Lagos home of our mutual friend Adewale Maja-Pearce.

I once invited him to join us at a made-for-television discourse on JP Clark’s work but he could not make it due to the exigencies of Lagos.

While in Lagos he devoted time to street photography that he always posted on his Facebook page.

I met him in London when I went to take a BBC short story prize, and he wondered cheekily that I was so unassuming unlike other Nigerian writers who printed “Writer” on their complimentary
cards!

He published my work in Homeland News that the venerable journalist Tunde Fagbenle founded in London.

Biyi passed away aged only 54, but he did enough work in his lifetime to ensure that he will never die.
The Biyi Bandele truth is that he came ahead of his time, and ensured he covered all the lanes before his early departure.

As an Egba man from Abeokuta in Southwestern Nigeria, born in Kafanchan in the North, Biyi Bandele earned the distinction of becoming the citizen of the world. An intensely private person, he let his prolific work do the talking for him without ever veering toward self-promotion in any way.

He won the respect of the world in his self-effacing manner as he devoted all his time to creation of timeless works. He could comfortably fit into any part of the world but retained an eternal love for Lagos, the
city he eventually died in.

London, England is another city that looms large in the Biyi Bandele oeuvre as exemplified in his 1999 novel, The Street, in which the eccentricity within the multi-racial assemblage finds meaning in the expression: “people reaching out to one another, searching for love.”

His 2008 novel, Burma Boy, tells the horrific story of the Second World War in which his father fought in, but Biyi brings to the story of the fourteen-year old protagonist, Ali Banana, humour and humanity transcending madness. It is indeed astounding trying to understand how Biyi found the time to do all the work of his considerably short span.
It suffices to celebrate the fact that Biyi Bandele was a believer who stayed the course of breaking borders and building lasting bridges.

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