Origin of Oluwatoying revealed [ "Aquatic Ancestry" by Kingsley Nnabuagha and the Fiction of Howard Phillips Lovecraft: A Study in Imaginative Convergence]
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OLUWATOYIN ADEPOJU
Nov 26, 2012, 10:37:32 AM11/26/12
to wolesoyinkasociety, jos...@yahoogroups.co.uk, mbariliter...@yahoogroups.com, usaafricadialogue, Mwananchi, Tony Abolo, yewande okuleye, gbenga oduntan, Ighile Mark, MARK DUNN, Akin Solanke, Samuel Omuemu
[Attachment(s) from OLUWATOYIN ADEPOJU included below]
This combination makes the story both surreal and yet grounded in geography and its own internal sense of history, thereby creating a narrative microcosmos, a world of its own.
His use of illustrations highlights his theme with particular power. The illustrations make vivid the motif of the macabre. Juxtaposing the human and the frog worlds as they do, they evoke a sublimely repellent contrast.
![Inline image 1]()
Frog and human companion
The description of the anguish of the offspring of the strange union invests the story with pathos,all the more impressive in being carried out in just four sentences of two lines:
The idea of relations between humans and aquatic creatures Kingsley evokes is the core of Lovecraft's fantastic novella "Shadow over Innsmouth".
In another wonderful Lovecraft story , "Facts Concerning the Late Arthur Jermyn and His Family" where he writes about the offspring of a gorilla and a human being, the American uses a similar motif of discovery as Kingsley does in this line:
"As a mixture of "Buda's dark blue frog and Papua New Guinea" kind of creature, all you have to do at this stage is to trace your ancestors and am willing to help you".
Lovecraft, for his part, opens with his characteristic overtones of tension between knowledge and despair:
'If we knew what we are [alluding to evolutionary theory on evolutionary links between humans and animals] , we should do as Arthur Jermyn did; and Arthur Jermyn soaked himself in oil and set fire to his clothing one night...after seeing the boxed object which came out of Africa.' ( "Facts Concerning the Late Arthur Jermyn and His Family" in H.P. Lovecraft, edited with introduction and notes by S.T. Joshi,The Call of Cthulhu and Other Weird Stories.London:Penguin, 1999)p. 14-23. p.14.
Notions of quest for ancestry and dismay at discovery are critical in the Lovecraft canon, from those stories I mentioned to others such as "The Case of Charles Dexter Ward" and "The Rats in the Walls".
"Rats" emblematises this theme with a concluding climax in a powerfully evoked regression of memory and language, as the character regresses through ancestral memory, evoking this through language that devolves through various stages of the development of English across the centuries, into languages that preceded English, culminating in a non-human language or pre-lingustic vocalization suggests the ultimate non-human or quasi-human ancestry of his stock, thereby suggesting his embodiment of successive centuries of ancestral horror of the kind that has erupted in the context of the present in the story :
"...Who says I am a de la Poer?...'Sblood, thou stinkard, I'll learn ye how to gust...wolde ye swynke me thilke wys?...Magna Mater! Magna Mater!...Atys..Dia ad aghaidh 's ad aodann...agus bas dunach ort! Dhonas 's dholas ort, agus leat-sa!...Ungl...ungl...rrrlh...chchch..." ( "The Rats in the Walls" in H.P. Lovecraft, edited with introduction and notes by S.T. Joshi,The Call of Cthulhu and Other Weird Stories.London:Penguin, 1999)p. 89-108. p108.
S.T. Joshi sums up an understanding of the meaning of this most evocative passage:
"The succession of languages-archaic English ("Sblood, thou stinkard..."), Middle English ( "wolde ye swynke..."), Latin ("Magna Mater!..."), Gaelic ( "Dia ad aghaidh...") and primitive grunts-is intended to convey the narrator's sudden descent upon the evolutionary scale" ( H.P. Lovecraft,edited with introduction and notes by S.T. Joshi, The Call of Cthulhu and Other Weird Stories.London:Penguin, 1999. p.884.
These characters are often portrayed as fascinatingly repellent to other humans, as Kingsley suggest in his first post:
Kingsley also notes that "In a normal society, toying and ilk are usually in specialist schools and addressed as special kids."
In Lovecraft's 's stories, because of their disturbing unhumanity, for the good of humanity the offspring of these most disturbing unions are sequestered in institutions :
The power of the conclusion to "Shadow over Innsmouth" derives from the tension between such forced isolation and acceptance of a central destiny in being unhuman:
"So far I have not shot myself as my uncle Douglas did[ on experiencing the deeply repellent physical changes and frightening dreams of rendezvous with terrifying aquatic creatures outside known biology he began to experience as he matured into his full quasi-human ancestral identity]. I bought an automatic and almost took the step but certain dreams deterred me.... The tense extremes of horror are lessening, and I feel queerly drawn towards the unknown sea deeps instead of fearing them. I hear and do strange things in my sleep and awake with a kind of exaltation instead of terror. I do not believe I need to wait for the full change as most have waited. If I did, my father would probably shut me up in a sanitarium as my poor little cousin is shut up.
....
I shall plan my cousin's escape from that Canton madhouse, and together we shall swim out to that brooding reef in the sea and dive down through black abysses to Cyclopean and many-columned Y'hanthlei, and in that lair of the Deep Ones[ their aquatic ancestors] we shall dwell amidst wonder and glory for ever." ( "The Shadow Over Innsmouth" in H.P. Lovecraft,edited with introduction and notes by S.T. Joshi,The Call of Cthulhu and Other Weird Stories.London:Penguin, 1999. p. 268-335. p. 335).
Lovecraft was also a manic racist, so Kingsley's use of the black skinned slaves in relation to the frogs echoes so strongly with the work of the man whose writing is seen by one view as response to race mixing, depicting it in terms of horror.
A representative collection of gems from the master of cosmic horror are collected in the Penguin Lovecraft volumes The Thing on the Doorstep and Other Weird Stories, The Call of Cthulhu and Other Weird Stories and The Dreams in the Witch house and Other Weird Stories.
Kingsley is creating a memorable work of art in an unlikely medium and context, this unlikeliness making it all the more interesting.
He should make the work clearer, though, so it can be better understood.
He might need to link the various ideas more carefully.
Also, I did not see what the imaginatively promising reference to "The huge Lagos rat so helpless in the mouth of a 2-weeks old giant frog" was referring to. A picture that did not load?
The Protean Nature of Art
Proteus is a Greek god who changes his shape at will. A critic used that image in describing the nature of poetry, the verbal art centred in the most pregnant forms of verbalization. Art emerges when the known is presented in ways significantly different from its known form, or when the unknown is made vivid. Kingsley Nnabuagha's "Aquatic Ancestry", a title I coined for his work, is an example of art growing in unlikely contexts but then not so unlikely, for where humans gather, by a fireplace or in cyberspace, the imagination thrives.
--
Compcros
"Aquatic Ancestry" by Kingsley Nnabuagha and the Fiction of Howard Phillips Lovecraft
A Study in Imaginative Convergence
Oluwatoyin Vincent Adepoju
Compcros
Comparative Cognitive Processes and Systems
"Exploring Every Corner of the cosmos in Search of Knowledge"
Creating a New World
Kingsley Nnabuagha, writing on Nigerian centred listserves between November 24 and 26, 2012, on a thread titled "Origin of Oluwatoying Revealed", weaves a powerful imagistic web using the motif of human and non-human relations.
He adresses Toying, a play on the name of Oluwatoyin Adepoju,thereby cleverly evoking a sense of disregard for the contributions on those listserves of Toyin on the role of Biafara in the Nigerian Civil War of 1967 -1970, a role with which Kingsley is passionately identified.
Kingsley takes to new heights the culture of imaginative insults on Nigerian centred listserves. Beyond the condemnatory dismissals of a Peter Opara or the lambasts of a Valentine Ojo, he creates a coherent world with its own forms of interspecies relations, its own history and geography, a surreal universe that gains power from intersecting the geography and history of the world as it is known.
Surrealistic Biology, Geography, History
He develops a striking human/frog motif that approaches genius, depicting this as emerging from a transplantation of humans and frogs from another continent. This evocation of biology and geography gives the story a touch of the exotic and yet suggests the quasi-historical:
"You see, when the initial outcast[s]
chased out of Portugal [Mpotokiri] came to the Benin ancient kingdom,
they came with the eggs and lava of the Gigantic Buda dark green frogs.
Actually, they were using those frogs for meals. They also came with
some people they captured along the way, those people were used for
labour purposes, they were dark-skinned people similar to those we see
in Papua New Guinea.
Those dark skinned were used in working
at the dark skinned frog's pond or farm. Experiment led
to offspring between the Buda's dark-blue giant frogs and the
dark-skinned humans captured along the way. The offspring had the
characteristics of drinking very excessively, when they realized that
all was not well with them. Some of them would sleep near the bushed, in
the trees and next to the dirty ponds."
This combination makes the story both surreal and yet grounded in geography and its own internal sense of history, thereby creating a narrative microcosmos, a world of its own.
His use of illustrations highlights his theme with particular power. The illustrations make vivid the motif of the macabre. Juxtaposing the human and the frog worlds as they do, they evoke a sublimely repellent contrast.
Frog and human companion
The description of the anguish of the offspring of the strange union invests the story with pathos,all the more impressive in being carried out in just four sentences of two lines:
"Those dark skinned were used in working
at the dark skinned frog's pond or farm. Experiment led
to offspring between the Buda's dark-blue giant frogs and the
dark-skinned humans captured along the way. The offspring had the
characteristics of drinking very excessively, when they realized that
all was not well with them. Some of them would sleep near the [bush], in
the trees and next to the dirty ponds."
Moving. Anguish at a state they did not bring upon themselves but which thy cannot escape from. Hence their descent into the resignation of despair.
Confluence with Lovecraft on the Unhuman and the Paradox of Knowledge
The force of Kingsley's portrayal emerges even more strikingly in its confluence with similar themes in the fiction of the great US writer Howard Phillips Lovecraft.
Moving. Anguish at a state they did not bring upon themselves but which thy cannot escape from. Hence their descent into the resignation of despair.
Confluence with Lovecraft on the Unhuman and the Paradox of Knowledge
The force of Kingsley's portrayal emerges even more strikingly in its confluence with similar themes in the fiction of the great US writer Howard Phillips Lovecraft.
The idea of relations between humans and aquatic creatures Kingsley evokes is the core of Lovecraft's fantastic novella "Shadow over Innsmouth".
In another wonderful Lovecraft story , "Facts Concerning the Late Arthur Jermyn and His Family" where he writes about the offspring of a gorilla and a human being, the American uses a similar motif of discovery as Kingsley does in this line:
"As a mixture of "Buda's dark blue frog and Papua New Guinea" kind of creature, all you have to do at this stage is to trace your ancestors and am willing to help you".
Lovecraft, for his part, opens with his characteristic overtones of tension between knowledge and despair:
'If we knew what we are [alluding to evolutionary theory on evolutionary links between humans and animals] , we should do as Arthur Jermyn did; and Arthur Jermyn soaked himself in oil and set fire to his clothing one night...after seeing the boxed object which came out of Africa.' ( "Facts Concerning the Late Arthur Jermyn and His Family" in H.P. Lovecraft, edited with introduction and notes by S.T. Joshi,The Call of Cthulhu and Other Weird Stories.London:Penguin, 1999)p. 14-23. p.14.
Notions of quest for ancestry and dismay at discovery are critical in the Lovecraft canon, from those stories I mentioned to others such as "The Case of Charles Dexter Ward" and "The Rats in the Walls".
"Rats" emblematises this theme with a concluding climax in a powerfully evoked regression of memory and language, as the character regresses through ancestral memory, evoking this through language that devolves through various stages of the development of English across the centuries, into languages that preceded English, culminating in a non-human language or pre-lingustic vocalization suggests the ultimate non-human or quasi-human ancestry of his stock, thereby suggesting his embodiment of successive centuries of ancestral horror of the kind that has erupted in the context of the present in the story :
"...Who says I am a de la Poer?...'Sblood, thou stinkard, I'll learn ye how to gust...wolde ye swynke me thilke wys?...Magna Mater! Magna Mater!...Atys..Dia ad aghaidh 's ad aodann...agus bas dunach ort! Dhonas 's dholas ort, agus leat-sa!...Ungl...ungl...rrrlh...chchch..." ( "The Rats in the Walls" in H.P. Lovecraft, edited with introduction and notes by S.T. Joshi,The Call of Cthulhu and Other Weird Stories.London:Penguin, 1999)p. 89-108. p108.
S.T. Joshi sums up an understanding of the meaning of this most evocative passage:
"The succession of languages-archaic English ("Sblood, thou stinkard..."), Middle English ( "wolde ye swynke..."), Latin ("Magna Mater!..."), Gaelic ( "Dia ad aghaidh...") and primitive grunts-is intended to convey the narrator's sudden descent upon the evolutionary scale" ( H.P. Lovecraft,edited with introduction and notes by S.T. Joshi, The Call of Cthulhu and Other Weird Stories.London:Penguin, 1999. p.884.
These characters are often portrayed as fascinatingly repellent to other humans, as Kingsley suggest in his first post:
"Blame not toying as you need to walk in his shoes first to
comprehend what goes on in his brain. Would any of you dare walk in such shoes? No human would."
Lovecraft's 'Arthur Jermyn' evokes a similar idea:
"Some who knew him do not admit that he ever existed.
...
Many would have disliked to live if possessed of the peculiar features of Arthur Jermyn, but he had been poet and scholar and had not minded."
( "Facts Concerning the Late Arthur Jermyn and His Family" in H.P. Lovecraft,edited with introduction and notes by S.T. Joshi,The Call of Cthulhu and Other Weird Stories.London:Penguin, 1999. p. 14-23. p.14).
[Note the uncanny similarity here between Kingsley's text and that of Lovecraft since the 'Toying' being satirised aspires to to scholarship and poetry]
Lovecraft's 'Arthur Jermyn' evokes a similar idea:
"Some who knew him do not admit that he ever existed.
...
Many would have disliked to live if possessed of the peculiar features of Arthur Jermyn, but he had been poet and scholar and had not minded."
( "Facts Concerning the Late Arthur Jermyn and His Family" in H.P. Lovecraft,edited with introduction and notes by S.T. Joshi,The Call of Cthulhu and Other Weird Stories.London:Penguin, 1999. p. 14-23. p.14).
[Note the uncanny similarity here between Kingsley's text and that of Lovecraft since the 'Toying' being satirised aspires to to scholarship and poetry]
Kingsley also notes that "In a normal society, toying and ilk are usually in specialist schools and addressed as special kids."
In Lovecraft's 's stories, because of their disturbing unhumanity, for the good of humanity the offspring of these most disturbing unions are sequestered in institutions :
The power of the conclusion to "Shadow over Innsmouth" derives from the tension between such forced isolation and acceptance of a central destiny in being unhuman:
"So far I have not shot myself as my uncle Douglas did[ on experiencing the deeply repellent physical changes and frightening dreams of rendezvous with terrifying aquatic creatures outside known biology he began to experience as he matured into his full quasi-human ancestral identity]. I bought an automatic and almost took the step but certain dreams deterred me.... The tense extremes of horror are lessening, and I feel queerly drawn towards the unknown sea deeps instead of fearing them. I hear and do strange things in my sleep and awake with a kind of exaltation instead of terror. I do not believe I need to wait for the full change as most have waited. If I did, my father would probably shut me up in a sanitarium as my poor little cousin is shut up.
....
I shall plan my cousin's escape from that Canton madhouse, and together we shall swim out to that brooding reef in the sea and dive down through black abysses to Cyclopean and many-columned Y'hanthlei, and in that lair of the Deep Ones[ their aquatic ancestors] we shall dwell amidst wonder and glory for ever." ( "The Shadow Over Innsmouth" in H.P. Lovecraft,edited with introduction and notes by S.T. Joshi,The Call of Cthulhu and Other Weird Stories.London:Penguin, 1999. p. 268-335. p. 335).
Lovecraft was also a manic racist, so Kingsley's use of the black skinned slaves in relation to the frogs echoes so strongly with the work of the man whose writing is seen by one view as response to race mixing, depicting it in terms of horror.
A representative collection of gems from the master of cosmic horror are collected in the Penguin Lovecraft volumes The Thing on the Doorstep and Other Weird Stories, The Call of Cthulhu and Other Weird Stories and The Dreams in the Witch house and Other Weird Stories.
Kingsley is creating a memorable work of art in an unlikely medium and context, this unlikeliness making it all the more interesting.
He should make the work clearer, though, so it can be better understood.
He might need to link the various ideas more carefully.
Also, I did not see what the imaginatively promising reference to "The huge Lagos rat so helpless in the mouth of a 2-weeks old giant frog" was referring to. A picture that did not load?
The Protean Nature of Art
Proteus is a Greek god who changes his shape at will. A critic used that image in describing the nature of poetry, the verbal art centred in the most pregnant forms of verbalization. Art emerges when the known is presented in ways significantly different from its known form, or when the unknown is made vivid. Kingsley Nnabuagha's "Aquatic Ancestry", a title I coined for his work, is an example of art growing in unlikely contexts but then not so unlikely, for where humans gather, by a fireplace or in cyberspace, the imagination thrives.
On Mon, Nov 26, 2012 at 9:23 AM, kingsley Nnabuagha <king...@yahoo.com> wrote:
Ah! Ha!! Toying,You see: As a mixture of "Buda's dark blue frog and Papua New Guinea" kind of creature, all you have to do at this stage is to trace your ancestors and am willing to help you.Personally, I like the fact that you are beginning to appreciate my expensive time, invest-fully dedicated to help people like you.The remaining of such a frog in Benin areas of Nigera.
You see, when the initial outcast chased out of Portugal [Mpotokiri] came to the Benin ancient kingdom, they came with the eggs and lava of the Gigantic Buda dark green frogs. Actually, they were using those frogs for meals. They also came with some people they captured along the way, those people were used for labour purposes, they were dark-skinned people similar to those we see in Papua New Guinea.at 4 feet tall, the dark skinned frog.
Those dark skinned were used in working at the dark skinned frog's pond or farm. Experiment led to offspring between the Buda's dark-blue giant frogs and the dark-skinned humans captured along the way. The offspring had the characteristics of drinking very excessively, when they realized that all was not well with them. Some of them would sleep near the bushed, in the trees and next to the dirty ponds.The huge Lagos rat so helpless in the mouth of a 2-weeks old giant frog.
How people like toying came to be will be revealed soon.Did any of you know that the initial colonial master were outcast or chased convicted criminals in UK and Portugal?Have a wonderful Monday.Regards,
Uzoma KLNUzoma KLN
[Life is simple, do not make it difficult]
--- On Sun, 11/25/12, OLUWATOYIN ADEPOJU <tva...@gmail.com> wrote:
From: OLUWATOYIN ADEPOJU <tva...@gmail.com>
Subject: Re: [Nigeria360::Live] Re: ||NaijaObserver|| Oluwatoyin Adepoju, I want you to explain .Obama backs Israel
To: niger...@yahoogroups.com
Cc: "aauwn...@aol.com" <aauwn...@aol.com>, "NaijaO...@yahoogroups.com" <NaijaO...@yahoogroups.com>, "OLUWATOYIN ADEPOJU" <toyinv...@gmail.com>, "tony egbe" <tegb...@yahoo.com>, "topcrest topcrest" <topc...@yahoo.com>, "Hel...@yahoo.com" <Hel...@yahoo.com>, "Kalajine" <aga...@globalkal.com>, "Ken Okey" <uniq...@yahoo.com>, "Ken Okorie" <oko...@usafricaonline.com>, "George Kerley" <george...@yahoo.com>, "Odimegwu Onwumere" <oprinc...@yahoo.com>, "ozodiobi osuji" <africai...@yahoo.com>, "Vin otuonye" <vincent...@msn.com>, "Dom Ogbonna" <enyi...@gmail.com>, "oyib...@yahoo.com" <oyib...@yahoo.com>, "osue...@yahoo.com" <osue...@yahoo.com>, "Ayo Ojutalayo" <ayooju...@yahoo.com>, "ofo...@aol.com" <ofo...@aol.com>, "okenw...@covad.ne" <okenw...@covad.ne>, "Emeka Godfrey" <emmytec...@yahoo.com>, "guka...@comcast.net" <guka...@comcast.net>, "zikpr...@googlegroups.com" <zikpr...@googlegroups.com>, "Zubbie Ekwueme" <zekw...@yahoo.com>, "charles maduka" <zuz...@sbcglobal.net>, "TalkN...@yahoogroups.com" <TalkN...@yahoogroups.com>, "Odua" <omo...@yahoogroups.com>
Date: Sunday, November 25, 2012, 6:17 AMI salute you, Uzoma, for your fertile brain.
Poetic thoughts that have enlivened my morning:
"People tolerate you because you are a byproduct of an accidental discharge. To be more precise, a misguided semen, mistakenly discharged, initially meant for mosquito infested gutter, an act of a man beaten to stupor by alcohol, who saw a mad naked woman and mistook her for whatever only him knows. No blames toying, not your fault.Blame not toying as you need to walk in his shoes first to comprehend what goes on in his brain. Would any of you dare walk in such shoes? No human would."
Particularly imagistic and rhythmical:
"To be more precise, a misguided semen, mistakenly discharged, initially meant for mosquito infested gutter"
God be with you, brother.
I wish you a happy Sunday.
toyinOn Sat, Nov 24, 2012 at 9:43 PM, Uzoma KLN <king...@yahoo.com> wrote:
Toying,You are a special kid,I knew it that you will enjoy it. So, you must be very thankful.Here is another: I have come across people who cannot make sense in these forum but am yet to come across one smacked with reckless abandon like you (Toying).People tolerate you because you are a byproduct of an accidental discharge. To be more precise, a misguided semen, mistakenly discharged, initially meant for mosquito infested gutter, an act of a man beaten to stupor by alcohol, who saw a mad naked woman and mistook her for whatever only him knows. No blames toying, not your fault.Blame not toying as you need to walk in his shoes first to comprehend what goes on in his brain. Would any of you dare walk in such shoea? No human would.
In a normal society, toying and ilk are usually in specialist schools and addressed as special kids.Toying is therefore, a special kid.Regards,Uzoma KLNUzoma KLN(Life is simple, do not make it difficult)
Sent from my iPadUzoma,
I really enjoy this...toying....On Fri, Nov 23, 2012 at 7:49 PM, Uzoma KLN <king...@yahoo.com> wrote:
And any human would think toying makes sense?I am concerned.Regards,Uzoma KLNUzoma KLN(Life is simple, do not make it difficult)Sent from my iPadYou have a point.
But, the two key issues that led to eventual problems are not explainable with reference to the events before the coup-
the ethnic centred character of the killings, and Ironsi's miscalculations.
It was this two, more than the fact of the coup itself, that led to the troubles that followed, according to one view.
toyinOn Fri, Nov 23, 2012 at 5:40 PM, <aauwn...@aol.com> wrote:
Dear Toyin
The sane always have a basis for action. If we assume the 1966 coup plotters where sane, what was the basis for their actions? What provided the fertile ground for giving them the belief that they could successfully carry out a coup which was supposed to shed the blood of all those in the key leadership positions in Nigeria without it leading to total anarchy in the country. Your time line omits these events.
It is only an insane man that acts without some basis in murdering a person. An even with the insane, something triggers the insanity. You need to put this in context in your time line by providing the events that triggered the insanity (for want of a better word) of the 1966 coup.From: OLUWATOYIN ADEPOJU <tva...@gmail.com>Date: Fri, 23 Nov 2012 17:26:24 +0000To: <aauwn...@aol.com>Cc: <NaijaO...@yahoogroups.com>; OLUWATOYIN ADEPOJU<toyinv...@gmail.com>; tony egbe<tegb...@yahoo.com>; topcrest topcrest<topc...@yahoo.com>; Hel...@yahoo.com<Hel...@yahoo.com>; Kalajine<aga...@globalkal.com>; Ken Okey<uniq...@yahoo.com>; Ken Okorie<oko...@usafricaonline.com>; George Kerley<george...@yahoo.com>; Odimegwu Onwumere<oprinc...@yahoo.com>; ozodiobi osuji<africai...@yahoo.com>; Vin otuonye<vincent...@msn.com>; Dom Ogbonna<enyi...@gmail.com>; oyib...@yahoo.com<oyib...@yahoo.com>; osue...@yahoo.com<osue...@yahoo.com>; Ayo Ojutalayo<ayooju...@yahoo.com>; ofo...@aol.com<ofo...@aol.com>; okenw...@covad.ne<okenw...@covad.ne>; Emeka Godfrey<emmytec...@yahoo.com>; guka...@comcast.net<guka...@comcast.net>; zikpr...@googlegroups.com<zikpr...@googlegroups.com>; Zubbie Ekwueme<zekw...@yahoo.com>; charles maduka<zuz...@sbcglobal.net>; king...@yahoo.com<king...@yahoo.com>; TalkN...@yahoogroups.com<TalkN...@yahoogroups.com>; Odua<omo...@yahoogroups.com>; niger...@yahoogroups.com<niger...@yahoogroups.com>Subject: Re: ||NaijaObserver|| Oluwatoyin Adepoju, I want you to explain .Obama backs IsraelI have difficulty agreeing with you, Nkechi.
I see the coup planners as unwise in their mission and barbaric in their method.
I see them as suspect in tribal politics.
I dont see the total scope of their coup as justified by events before their coup.
I would like to know your views.
toyinOn Fri, Nov 23, 2012 at 3:01 PM, <aauwn...@aol.com> wrote:
Dear Toyin and Afis
A more appropriate historical analysis and an unbiased time-line is one that pre-dates the 1966 coup going back to the events that were the basis for the 1966 coup.
If a job is worth doing, it is worth doing it well.
Best
Nkechi
aauwn...@aol.comSent via BlackBerry by AT&TFrom: Afis <odide...@yahoo.com>Sender: NaijaO...@yahoogroups.comDate: Fri, 23 Nov 2012 08:18:17 -0500To: OLUWATOYIN ADEPOJU<tva...@gmail.com>ReplyTo: NaijaO...@yahoogroups.comCc: NaijaO...@yahoogroups.com<NaijaO...@yahoogroups.com>; OLUWATOYIN ADEPOJU<toyinv...@gmail.com>; tony egbe<tegb...@yahoo.com>; topcrest topcrest<topc...@yahoo.com>; Hel...@yahoo.com<Hel...@yahoo.com>; Kalajine<aga...@globalkal.com>; Ken Okey<uniq...@yahoo.com>; Ken Okorie<oko...@usafricaonline.com>; George Kerley<george...@yahoo.com>; Odimegwu Onwumere<oprinc...@yahoo.com>; ozodiobi osuji<africai...@yahoo.com>; Vin otuonye<vincent...@msn.com>; Dom Ogbonna<enyi...@gmail.com>; oyib...@yahoo.com<oyib...@yahoo.com>; osue...@yahoo.com<osue...@yahoo.com>; Ayo Ojutalayo<ayooju...@yahoo.com>; ofo...@aol.com<ofo...@aol.com>; okenw...@covad.ne<okenw...@covad.ne>; Emeka Godfrey<emmytec...@yahoo.com>; guka...@comcast.net<guka...@comcast.net>; zikpr...@googlegroups.com<zikpr...@googlegroups.com>; Zubbie Ekwueme<zekw...@yahoo.com>; charles maduka<zuz...@sbcglobal.net>; king...@yahoo.com<king...@yahoo.com>; TalkN...@yahoogroups.com<TalkN...@yahoogroups.com>; Odua<omo...@yahoogroups.com>; niger...@yahoogroups.com<niger...@yahoogroups.com>Subject: Re: ||NaijaObserver|| Oluwatoyin Adepoju, I want you to explain .Obama backs IsraelQUOTE...."Timeline1. Jan. 1966- Igbo led coup favourable to Igbo interests.
The highest ranking Yoruba and Northern politicians and military officers murdered in cold blood, one killed while in bed, one officer's wife also killed, another shot by the coupists.One Igbo officer was killed.All Igbo politicians and all Igbo officers were spared.2. Aguyi-Ironsi, highest raking army officer and Igbo man, organises the country into a unitary formation, with himself as head.Delays action on the coupists. Transfers them to the South East, the ethnic base of most of them.
2. 1966. Counter coup. Ironsi is murdered. Southern, particularly Igbo officers are massacred.Two waves of Southern, particularly anti-Igbo pogroms.Southerners, particularly Igbos, flee the North.3. The Nigerian government withdraws all troops to their places of origin.
4. Talks are held to achieve unity, climaxing in the Aburi Accords.5. The new head of state, Yakubu Gowon, modifies the Accords.6. Ojukwu, SE gov, rejects the modified accords.7. Gowon responds by dividing Nigeri a int
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CompcrosComparative Cognitive Processes and Systems"Exploring Every Corner of the Cosmos in Search of Knowledge"
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Compcros
Comparative Cognitive Processes and Systems
"Exploring Every Corner of the Cosmos in Search of Knowledge"
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USAfrica
http://www.USAfricaonline.com
1st African-owned, U.S.-based professional newspaper published on the internet.
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CLASS ... The social events and profiles glossy magazine for Africans
in the U.S. and North America. It's the 'Ebony' magazine for the African
professional class across the U.S., north America and the Diaspora
http://www.Classmagazine.tv
-----
-PHOTOWORKS.tv
Our community's photos mega-site of your special events, weddings, anniversaries, etc
http://www.PhotoWorks.tv
http://www.USAfricaonline.com
1st African-owned, U.S.-based professional newspaper published on the internet.
------
CLASS ... The social events and profiles glossy magazine for Africans
in the U.S. and North America. It's the 'Ebony' magazine for the African
professional class across the U.S., north America and the Diaspora
http://www.Classmagazine.tv
-----
-PHOTOWORKS.tv
Our community's photos mega-site of your special events, weddings, anniversaries, etc
http://www.PhotoWorks.tv
.
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Compcros
Comparative Cognitive Processes and Systems
"Exploring Every Corner of the Cosmos in Search of Knowledge"
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