Pule Lechesa writes on elementary research in Omoseye Bolaji's fiction

The world of imaginative writing is often a tricky business – in fiction for example we have to create convincing characters, dialogue, plots etc. There might be an underlying agenda on the author’s part, but once this is kept subtle the work will probably be successful. It is also often important that the author must be familiar with what he or she is writing about; even any pertinent research should be incorporated comfortably into the text. Yes, research. This can also be very important. There are important writers out there who have ensured that the research in their writings is incorporated regularly into their work. Dick Francis is a fine example, a master of thrillers and mystery writing. He delves into so many topics in his disparate works of fiction, and the technical research in many of them is quite impressive. This type of research can be seen in many of the creative works of Omoseye Bolaji too. What I admire most about such “research” is the way such is woven easily into the fabric of his imaginative works especially the Tebogo Mystery series. Take Tebogo Fails (2003) for example – the third in the Tebogo series. I doubt whether Bolaji ever lived in Botshabelo (in the Free State) but many readers and critics have pointed out that they are impressed with the way Bolaji writes about Botshabelo as if he is a denizen of the area, talking about the different ‘Sections’ there authoritatively. In Tebogo and the Haka (2008) the reader is introduced to the fascinating spectacle of the haka performance as dished out by the “All Blacks” (New Zealand Rugby team). There can be no doubt that the author has done some research here, especially when the Maori text of the haka is actually reproduced in the work: Ringa pakia! Uma tiraha! Turi whatia! Hope whai ake! Waewae takahia kia kino! Ka mate, ka mate Ka ora' Ka ora' Ka mate, ka mate Ka ora Ka ora " Tēnei te tangata pūhuruhuru Nāna i tiki mai whakawhiti te rā A Upane! Ka Upane! Upane Kaupane" Whiti te rā,! Hī! (Tebogo and Haka) And in Ask Tebogo (2004) there are series of essays placed in the text of the whole mystery. Whilst some critics have found such “essays” jarring, the fact is that the author included many of these incidents and essays based on what was actually happening in the real world at the time; as it is explained even before the book starts: “This is a work of fiction, although the news items, dates and events referred to in the Essay in Chapter 10 are factual...” This is part of the research I am referring to. In Tebogo and the pantophagist (2010) the focus of the author here is mainly on the significance of important discoverers, inventors, scientists who laid the platform for the scientific marvels in the world today. Nowadays alas we take all these things for granted as if they just came from nowhere; but Bolaji, a veritable thinker and perhaps mystic to boot, goes to the root of these things; paying tribute to those who discovered things like electricity and television – never mind latest fads like tweeter et al. In Tebogo and the pantophagist, Bolaji creates his own African scientist who realises the importance of the pioneers who largely sacrificed their whole lives to discovering early versions of our modern marvels. But it is all done in creative fashion; starting with Tebogo talking to his superior: “I guess we should talk now. Tell me – what do you know about the likes of Alexander Graham Bell, Galileo Galilei, Janssen, Roger Bacon,, James Watt, Louis Pasteur…?” “Hmm,” I said, “they were all great inventors weren’t they? Bell invented the telephone; Janssen the microscope, Roger Bacon gunpowder; Watt the steam engine or train…Galileo – the telescope?” The flamboyant man nodded. “You tried; but you have to do better. Much better...”. A bit later on, he adds: “You see, you must get close to the pantophagist “ I winced. “The what?” “The pantophagist. It’s still the same man (Mr Shasha) but we like to call him pantophagist because he has a reputation for eating all types of food, without somehow getting tired, sick, or fat. It’s like chewing the cud or something, perhaps….” The latest Tebogo Mystery, Tebogo and the bacchae (2012) might not have needed much research if any, but there are still glimpses of knowledge easily incorporated into the work. When Sibusiso for example is rattled at the way a parrot talks, we read (from Linda): Linda...had trained John the parrot in her spare time. She added: “You see, it's a bit interesting. Parrots do not have vocal cords so to speak. They somewhat expel air across the mouth of their trachea...their bifurcated trachea...” She stared at Julia... This brief passage again highlights another thing Bolaji is noted for, his brevity. He seems to be always aware that he is writing for a certain audience that he would not want to “bore” with too many details. The depressing fact is that not too many of our (Black people in Africa) are reading and as an African great like Taban lo Liyong (critic and essayist) once pointed out), writers should not be too tedious in their approach to writing. Arguably when it comes to the many literary allusions that often dot Bolaji’s, work he might not need to do any research at all in this sphere as this is one of his fortes, as it were. Such literary devices or allusions seem to come easily to a writer like Bolaji; and the reader, especially those still finding their feet, will always learn from this. The point is: when we read new books, new imaginative works we tend to take a lot for granted. As critics we can even slam or damn the entire creative process including the underlying research done by the author. This does not however mean that the author is not appreciated. Taking time to focus on any writer itself is actually a sort of tribute. Often, the more research the author does, the more successful the work is. (Pule Lechesa, a literary critic, is putting finishing touches to a new study titled ‘Bolaji in his pomp’)