Making History with Balaraba Ramat Yakubu’s novel Sin is a Puppy…

The novel tells the story of a Rabi, a woman married to a stingy, womanizing business man, Alhaji Abdu. Although she has nine children to take care of, her husband only gives her five naira a day to prepare their meals, while he spends over ten naira a day on restaurants and entertaining other women.  […]

The novel tells the story of a Rabi, a woman married to a stingy, womanizing business man, Alhaji Abdu. Although she has nine children to take care of, her husband only gives her five naira a day to prepare their meals, while he spends over ten naira a day on restaurants and entertaining other women.  (Beyond literary value, the novel is also useful for tracking the inflation of the past twenty years!) Rabi pays for school fees from the money she makes cooking and selling food and takes care of Alhaji Abdu’s daughter from another marriage as if she were her own. Alhaji Abdu’s decision to marry an old prostitute as a second wife, however, brings Rabi’s misery to a climax. When the women quarrel, Alhaji Abdu throws Rabi and her nine children out on the street. The rest of the novel traces the decisions Rabi makes in her newly independent life, her daughter Saudatu’s marriage, and the continuing drama as Alhaji Abdu continues to alienate friends and family on behalf of his new ungrateful wife.

The suffering of the women in the novel seems to be, in large part, because of the patriarchal attitudes of polygamous husbands. As much as Rabi’s daughter Saudatu’s marriage to the devoted Alhaji Abubakar is described in romantic terms, she does suffer in the marriage as the third wife in a household of quarrelsome women. Even when she is alone with her husband, she is unable to rest after she gives birth because her husband wants her to continue looking after all the children he has had with his other wives. The other wives are portrayed harshly, but there is a sense that their quarrels come out of their being forced to co-exist with rivals. Even the men described sympathetically in the novel are sometimes unkind and imperious towards their wives. There are no feminist directives here, but a sense of unease and dissatisfaction at the plight in which women find themselves.  The happiest couples seem to be those who are made up of one man and one wife.

Although so-called soyayya novels are often stereotyped as being unrealistic romance novels, Alhaki Kuykuyo Ne, reminds me more of the classic muckraking novels of Charles Dickens, who threw a harsh moral light on the injustices of his own society. Neither does the narrative work like a typical English-language “romance novel” but rather with the uncertainty and ambiguity of modernist social realism. The novel does not resolve into a happy ending. There are no neat ends tied off.  Alhaji Abdu does get his comeuppance, when, as the proverbial title foreshadows, his sins catch up with him. However, there is no reward for the virtuous Rabi. Male relatives, who had initially denounced Alhaji for his abuse and vowed their support for Rabi, end up transferring their loyalties back to their fellow man in the end. The status quo is preserved. Lessons are learned, and society continues on, but no one is left very happy. Hajiya Balaraba questions whether men, in such situations, are actually following religious prescriptions or merely following cultural norms that privilege their own comfort and pleasure over their wives’ wellbeing.

The translator Aliyu Kamal, an English professor at Bayero University, does fine work here. His translation for Blaft reads much more smoothly and naturally than the excerpt translated by William Burgess for Readings in African Popular Fiction. Professor Kamal’s writing skills as the author of ten novels in English are obvious. This is not to say there were not issues with the translation. He sometimes leaves out important content and nuance. In the original preface, for example, Hajiya Balaraba begins the novel with a prayer of gratitude to Allah before launching into a summary of the novel. The translation leaves out the prayer and goes directly to the summary. He also leaves out another particularly pointed sentence in the preface, where Hajiya Balaraba says that abusive, neglectful men “exist in every corner of this state.” He sometimes makes odd translation choices such as describing Rabi as “putting on her makeup” after a bath, rather than “oiling her body” as it is in the original, and sometimes he translates out certain ironies.  In the original, Alhaji Abdu tells his first wife Rabi that he’s got “good news” for her, that he plans to give her “a little sister,” a euphemism for adding a wife. In Kamal’s translation, however, the irony is translated out with Alhaji Abdu merely saying, “I have something to tell you. I plan to take a second wife.” A more careful translation could have maintained the nuance. I would, additionally, have preferred if he had left common food words in Hausa, allowing readers to infer from context that they are foods rather than translating “koko” and “kosai” and “tuwo” as “porridge” and “bean cakes” and “pudding.” Although I was originally startled by some of the larger structural adjustments to the texts, including rearranged chapters, perhaps these were wise editorial decisions, as they do make the story flow more smoothly. Overall, despite these flaws, the translation makes for a good read and I would love to see Professor Kamal do more of such work.

I am particularly delighted by the publication of this translation because it indicates that the larger world is beginning to appreciate novels that have often been denigrated by an intellectual elite in Nigeria. Critics, many of whom have read only a few of the novels, or none at all, often condemn an entire range of genres and literary accomplishment as “trashy romance novels.”  Ironically, while for the past twenty years thousands of novels have been written and consumed by eager readers, Nigeria’s well-known publishers have looked the other way and bemoaned the “lack of reading culture in Nigeria. It took an Indian company to recognize these innovations and search for translators to midwife Hausa creative expression to a larger global readership. Because of this, although the book can be ordered from India and is available in e-book versions, Sin is a Puppy…., like so many other contemporary Nigerian literary works, is more easily available to audiences abroad than it is to Nigerian audiences.  I hope this publication will wake up Nigerian publishers and encourage more English-language novelists to try their hands at translation. Perhaps the Association of Nigerian authors, a university, or other literary initiative could award funding to at least one writer/translator team a year?

Note: My heart goes out to those who lost loved ones and those who were wounded in the bomb at St. Rita’s church in Kaduna on 28 October and in the reprisal attacks that followed. May God bring the murderers to justice and grant us all comfort and peace.