‘TIMES OF THE SUPERMEN’ A novel by Tope Apoola – Reviewed by Idoko Ojabo

This is an epic story narrated in first person in its first part (book one), but later dives into the second person narrative in book two. Apoola does this swap unconfidently, but did find rhythm deep into the pages. The last part of the book (book 3) falls back in the first person. Midway into the novel, rivals of fantasy will love the story. It becomes more of a normal drama than the science fiction it dwells. I say that Apoola unconfidently drowns from the first person narrative into the second person narrative, because he fails to accept the narrator had no role again to play when the stories of Bode Oladejo, Kemi, and Sola thickens through the second book of the novel although it was his(the narrator) story.
Dr Olanusi is one of the characters with a gigantic brain in the novel who seem like living for eternity. The doctor is one of Apoola’s greatest inventions. Sola is another great invention who once had plights in America, one of which she had confronted a poisoned air. The way Apoola introduces his characters make the novel difficult to read. The novel’s language is exceptional and will make a good study in literature. I praise the writer’s concept in dragging into literature what he feels could be a life in the 2260’s and 2280’s. Apoola predicts confidently what he thinks could occur then. He feels that most courthouses could be planted on webs of the internet, which is a very inventive. Even in 2287, the world is still cautious when a Nigerian gets into a scene. The way Apoola talks about destiny in his novel, he sounds like a preacher proclaiming ‘this and that one’ has a bright destiny. The preaching voice in his writing attacks what he sees as wrong, like abortion, prostitution and corruption.
The story brought to my mind fantasy movies I have seen in which the base on planet earth was always in America. I had to accept Apoola’s snatch of the world power from America, which he brings into Nigeria in a way. The writer somehow justifies his tale.
I compare this novel to Carlos Ruiz Zafon’s ‘The Shadow of the Wind’, and also A.S Byatt’s ‘Possession’. Comparing this three books, Byatt’s and Zafon’s lies on one side because they are promoting literature – Byatt promoted poetry, short stories and the whole act of language, and Zafon did a handful of a literary love story in his bestselling novel. On the other side where Apoola’s novel lies, I see the author roaring furiously in a scientific voice saying, ‘Science isn’t dying but has a voice!’ Even his imagery had scientific textures:
I felt like I was in a space ship already, travelling with a moribund geek.
The interweaving of politics and science researches deserve applaud. His scientific mind thickens the more the pages flip… Space travel, early existence of homo-sapiens/homo-erectus and future time settings make this novel unique in a way, though may force some none-science enthusiasts to dump the book thinking of it as boring, containing no cultural values. This novel is unlike Nnedi Okorafo’s fantasies (e.g Zarah the Windseeker), which recognises African ethics. Apoola’s novel is an attacking arrow into the literary mindsets of the artists who opposes writers who are outside the field of literature, but writing literatures. The novel is autobiographical in a way; the narrator (whose voice in the first person appears more in book one and three) is focused on telling two stories. One is of his journey into a scientific discovery, and the other, is about his uncle. Along the pages, a tale about a Russian called Chekhov who had invented a drug ‘Cheknosin’ that lengthens a human lifespan; Chekhov passes through hell to get his scientific dreams rolling. The lines of this novel have some touch of poetry and humour.
Deep through the pages of the novel I begin to wonder, ‘who would love to read about a Nigeria that aspires in space travel and intense science research when there is a lot of poverty, underdevelopment, corruption, tribal sentiments and religious crises to tackle? If Ben Okri’s ‘Famished Road’ is compared to Salman Rushdie’s ‘The Satanic Verses’, it is obvious that both are magic realisms, but the authenticity of Okri’s work set in Nigeria stands x-rayed, bringing into scene poverty, violence and cultural beliefs, while Salman Rushdie’s British world played its own tune of a developed world. Apoola might ague that the novel is a foresight into the future, which is something new he is trying to shove into what is called ‘Nigerian Literature’. It will be difficult for that to be accepted. The novel will make a bad movie if attempts are made to visualize the story. The story fails to portray in real sense what Africa or Nigeria has in stalk for the world. The presence of too many characters makes the appetite for the cinema even lesser. I don’t see any influence of Nigerian literature in Apoola’s writing. I can’t call this, ‘Nigerian Literature’, but I can accept it is a world class writing that deserve a space on an international shelf.
The novel is tricky in its beginning regarding the narrator role as the protagonist. Deep through the midsection of the novel, the narrator completely disappears, centralising Bode Oladejo. In Bode’s dreams, came the existence of monkey-men. It was a dream of a time never on record. And this opens up a debate on whether this dream was as a result of Bode’s drug abuse or his reading of comic books of saber toothed cats before sleep. Dreams play an important role in Apoola’s novel. Apoola also did well in plot diversity… From ‘space science’ to ‘genetics’ and to ‘physics’ and to ‘medicine’ and to ‘engineering’…
The reader needs to gather up clues to get the story, which is unique. This book is a challenge to readers. It’s a book that shouldn’t just be read, but be digested. Its impact on a reader’s mind will remain for over a long time… This book demands to be read more than once to get a complete puzzle right.
Sola’s journey to a successful height in a media career stands as metaphor to writers, in my own view… While some journalists end up within the steps of their household, others are flying flags across the world. It might not only be a metaphor for writers but also for all aspects of life’s journey.
I love to acknowledge the writer’s solidified description of the Diaspora (outside Nigeria). It is very unlike some other Nigerian novels I have read that awfully failed trying to paint a picture of the west. Apoola did a nice assignment, not over describing, but passing on the right message. This is very authentic.
One of the issue of child abuse which has become a hiding crime in today’s world was dealt with in the novel. A man called Lord who had once in his life abused orphans had to have the stigma of conscience in his appearance… One can’t write this kind of novel filled with intellectuals without speaking about atheism, and this, Apoola sharpened to the core.
The most exciting part of this novel is the ending, which is gripping to the reader, and coated with suspense. Most importantly was the message Apoola was able to convey. This is really a novel about Supermen.