Ebook Download , by Manu Herbstein
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, by Manu Herbstein
Ebook Download , by Manu Herbstein
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Product details
File Size: 25405 KB
Print Length: 256 pages
Publisher: Manu Herbstein; PublishDrive edition (January 5, 2018)
Publication Date: January 15, 2018
Sold by: Amazon Digital Services LLC
Language: English
ASIN: B0791YXBRY
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Manu Herbstein’s The Boy who Spat in Sargrenti’s Eye is a masterwork of historical fiction, with the emphasis on historical. The story is set in the events leading up to the creation of the British Gold Coast Colony and Protectorate in 1874, and its main theme is a boy’s – and a nation’s — struggle to retain dignity in the midst of their loss of independence. Subtly, then, this is an anti-colonial story.As the book begins Herbstein’s hero, 15-year old Kofi Gyan, is a boy torn between worlds in a time of great change. He is the product of a marriage between a daughter of Elmina and a son of Cape Coast, two towns at the epicenter of a conflict between the regional power Asante and the suddenly expansionist British empire. As the story begins, Britain and the Netherlands are in the process of exchanging forts in order to solidify their position on the coast. They do so without consulting any of the local African leaders, and the result is chaos leading, eventually, to a Dutch withdrawal from the coast. This sudden departure leaves Elmina and their Asante allies exposed to the power of Britain and its local partners in Cape Coast. Kofi quickly finds himself in the middle of this conflict. His paternal Uncle, Nana Kobina Gyan, the Ohin (King) of Elmina, resists the imposition of British rule and is exiled as his town burns. By contrast his maternal grandfather, Christian, is an important merchant in Cape Coast who anticipates benefits from British rule and who profits from the arrival of British troops (and journalists) on their way to invade Asante.As the story continues, Kofi is forced to face both ways. He is recruited to assist to Melton Prior, an artist who is chronicling the invasion for the Illustrated London News, but is also convinced to act as an Asante spy. He must decide whether to collaborate or oppose the invasion, a dilemma that brings him into contact with the leader of the expedition, Sir Garnet Wolseley (or ‘Sargrenti’). Kofi gradually comes to a decision based on his observation of what British colonialism means, a theme illustrated by Herbstein in both specific incidents and overall attitudes that ring true. Wolseley and the British exhibit a casual racism, which soon grows to encompass pillage, forced labor, and brutal beatings. Their destruction culminates in the sack of the Asante capital of Kumasi. In the midst of the plunder , Herbstein contrasts two incidents – the hanging of an African bearer for taking a piece of cloth, and the theft of gold by Prior and by the British forces more generally – that decisively mark Kofi’s understanding of the rapaciousness of colonialism.The story is fictional, of course. Kofi never existed. Nevertheless, the story as he tells it is superbly supported by evidence that the events through which he moves in the book were very real. Melton Prior’s genuine images, published in the Illustrated London News, form a centerpiece of many chapters. Other episodes are taken directly from primary sources, published accounts, and recent debates by very senior scholars. The book is, in fact, in many ways a superb bit of historical analysis. It’s also written in such a way that an individual youth reader unfamiliar with Ghanaian history could understand it without help. I think it will be most useful, however, in a high school class studying colonialism. To be sure, the contrast between brave Elmina warriors and wise Asante elders, on the one hand, and the cowardly, sycophantic Cape Coasters supporting the brutal British on the other is a bit heavy-handed. For example, the Asante King Kofi Karikari comes away as a kindly gentleman although he was also a major slave-owner. However, the fact is that at least as concerns the invaders, the dastardly deeds witnessed by Kofi in this book are very real indeed. Herbstein’s magic lies in the way that he reveals them through such a compelling story of a young man caught in the midst of turmoil and change.Reviewed by Trevor R. Getz, Ph.D. San Francisco State UniversityPublished in Africa Access Review (June 20, 2016)Copyright 2016 Africa Access
Ghana is one of the epi-centers of new research in African history leading to readable and overdue academic history. Abina and the Important Men/2013 by Trevor Getz is the landmark title. Herbstein’s is the second of his that I have read. It may be pitched to younger readers but its content is adult. The book purports to be the diary written between 1872 and 1874 about the British attack on Kumasi. It was composed by the young Kofi Gyan of a royal family of Cape Coast who had to flee to Elmina. It is a very convincing account, and one finds out at the end that it is historically accurate fiction, but fiction nevertheless. What the author has done, as he did in Brave Music of a Distant Drum is the find a very accessible vehicle for rendering very painful history.
This is the story of the momentous events that took place in the early 1870s in what is today Ghana. It begins with the departure of the Dutch from their coastal stronghold at Elmina and ends, in 1874, with British colonial domination firmly established in the region. This was an outcome not achieved without much disruption, suffering and bloodshed. These reached their peak with the defeat of the Asante kingdom and the sacking and burning to the ground of its great capital, Kumasi.The story unfolds on two different levels. One draws heavily on historical documents, with the while milieu brought to life for the reader by the striking, on-the-spot illustrations of Melton Prior, the artist who covered events for The Illustrated London News. The other is the account given by the young Kofi Gyan, a creation of the author, who finds himself, as assistant to Prior, at a vantage point in the English camp. With the blessing of his elders and a diary and pencil in hand, he collects valuable intelligence for his own people as he records all that he sees and hears as he accompanies the British Army on its punitive expedition to the north.The bright, fifteen year old youth is portrayed as a sharp-eyed and sensitive observer, with an excellent command of English. He has much to report as the white men round him express themselves freely in his presence, which they hardly notice, simply assuming that because he is black he must be stupid. Thus he is able to hear their brutal, racist views uncensored, to witness their cruelty to the black bearers who carry their supplies, and sometimes themselves, northwards, and the criminal acts of looting in which some indulge.In this account of the clash between ill-matched adversaries, with the victory of those with superior fire power foregone conclusion, the author leaves no doubt as to where his sympathies lie. He has not aspired to provide an even-handed description of events but rather to depict the dignified and courageous behavior of people, defending their homes and way of life against foreign intervention.This is surely a tale to stir the pride of the young people of Ghana in their ancestors.Highly recommended.
As in Ama, Manu Herbstein, demonstrates his mastery of the historical novel with The Boy who Spat in Sargrenti’s Eye. By turns tragic and humorous, entertaining and educating, this is a chronicle of the experiences of the redoubtable Kofi Gyan, a fifteen year old firsthand witness to the so called Sargrenti War between Britain and the Asante Kingdom. Outwitting his British employers, Gyan meticulously records the pillaging of Kumasi and the aftermath, with the bombarding of Elimina as preface. Young Gyan’s diary becomes a guidepost to a history marked by the injustices leading to colonization and the resilience and dignity of the defeated. It is a testament to Herbstein’s mastery that he almost effortlessly creates empathy for a people whose history is often warped by the obscurity imposed on the vanquished. In The Boy who Spat on Sargrenti’s Eye, characterization and plot combine to pry open history’s often opaque lenses to tell, or rather retell, a poignant story of war and resistance.
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