����� �� English, and among them are canonical texts by Tutuola, Achebe, Soyinka, Clark-Bekederemo, Emecheta, and Okri. These abiku writings constitute a major tradition within Nigerian literature, so it is surprising that no study has been done which reads them together and orders them historically as such. Indeed, existing studies of abiku literature lack any kind of historical perspective. They are limited to thematic and stylistic comparisons of canonical written texts, by-passing the relationship of these texts to oral abiku literature, to nonliterary abiku discourses, and to the concerns and anxieties surrounding their historical circumstances of composition. Symptomatic of these studies’ lack of historical perspective is the reliance of their interpretations upon insufficiently considered accounts of abiku. Such accounts (sometimes they are just hasty definitions) often mix facts about abiku with facts about ogbanje; represent abiku as homogeneous across time and space; fail to distinguish between popular and expert, official and heretical, indigenous and exogenous discourses of abiku; assume that the belief in abiku has a psychological rather than ontological origin; and hastily appropriate abiku to serve as a symbol for present-day, metropolitan concepts and concerns. 2 The upshot of all this has been to establish and encourage a practice of literary exegesis that not only occludes the historicity of abiku—its embeddedness in specific times, localities, discourses, concerns, and circumstances that render it inalienably heterogeneous, politicized, and protean—but also occludes, in turn, the historicity of the literature that takes abiku as its subject. The first aim of this essay is, therefore, to retrieve some sense of abiku’s rich and varied history. To this end, I consider in detail one “traditional” Yoruba theory of abiku offered by a senior Ifa babalawo, demonstrating its politicized nature by situating it in the context of eighteenth- and nineteenth-century Yoruba society. The second aim of this essay is to look at some oral Yoruba abiku literature—to look at it as literature, that is, rather than as part of the anthropological catalogue. I thus consider some of the formal and thematic features of abiku names, oriki, and narratives, while also relating these aesthetic features back to the orthodox Ifa discourse and its nexus of historically contingent concerns. The third contribution of this study to existing scholarship is to show that some detailed knowledge of oral abiku representations and their history is indispensable to understanding the dynamics and significance of twentieth-century abiku literature written in English. Taking Soyinka’s well-known poem “Abiku” as my example, I show that the poem is profoundly shaped by what it inherits from the past (oral abiku texts and Yoruba politics), even as it is also shaped by its own historical circumstances of production (Soyinka’s nostalgia for home in
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