Research Topic: Childhood in the African novel: A study of Mamle Wolo’s “Kaya Girl” and Lawrence Darmani’s “Grief Child”.

Research Topic: Childhood in the African novel: A study of Mamle Wolo’s “Kaya Girl” and Lawrence Darmani’s “Grief Child”.

Chapter One

Introduction

This chapter serves as the study’s introduction. It provides the study’s context, identifies the research problem, discusses its significance, and explains the research’s objectives. In addition, questions guiding the research are posed, the methodology for the Research is introduced, and the delimitation as well as the chapter organization

1.1 Background to the study

Childhood is universally understood to be a unique and vulnerable period in a person’s development, during which the only thing that matters most is the protection of the child by an adult. They are regarded as an indispensable part of every family, community, and the world at large because they offer happiness and joy. The United Nations Convention on the Rights of the Child (UNCRC) defines a child as “anyone under eighteen unless a country sets the legal age of adulthood lower.” Smart (2003) concurs that this age, eighteen (18), pertains primarily to the generally accepted age of the mainstream. However, there may be age variations regarding legal issues such as marriage, making a will, medical consent, etc. Also, according to the Children’s Act of Ghana, a person is considered a child until the age of 18.

 According to Cohen (2006), the concept of childhood emerged during the Enlightenment and Romantic periods in Europe. In his famous novel “Emile: or, on Education” published in 1762, Jean-Jacques Rousseau expressed a romantic view of children. Drawing on the ideas of John Locke and other 17th-century philosophers, Rousseau defined childhood as “a brief period of sanctuary before people face the perils and hardships of adulthood.” Children’s literature transitioned from a didactic stage to a humorous, enjoyable, and thrilling educational genre during this time. (Cohen, 2006).

As children play a crucial role in society, they must be raised to undertake responsible positions. According to Parajuli (2004), as cited by Oyero (2009), “Children are the future of every society and must therefore be provided with all the necessities for their development.”

Every infant deserves to grow up in a loving, peaceful environment free from adult responsibilities. Olusanmi (2012) emphasizes the importance of creating a safe environment in which children can grow up without being subjected to violence, abuse, or exploitation. Despite the many assertions, children continue to be marginalized in the literary world. The discovery of childhood as a distinct phase of life is a recent event. Philip Aries reveals in his 1962 book, ‘Centuries of Childhood,’ that for most of history, children were not distinguished from adults, they were regarded as miniature or mini-adults which explains why there was no genuine fiction for children before the 18th century.

In the first half of the eighteenth century, attitudes towards childhood and the literary images associated with it frequently appeared vague and contradictory. While Gordon S. Wood has recently suggested that John Locke’s Some Thoughts Concerning Education (1693) may have been “the most practically significant book Locke ever wrote,” the vast majority of critics who have written about the portrayal of childhood have focused on the last fifty years, claiming that childhood was of little interest to writers of the previous generation. (Ezelle, 1983).  Again, the International Companion Encyclopedia of Children’s Literature asserts that it is impossible to determine the limits of this genre because some works of fiction are relished equally by adults and children. The Harry Porter series, for instance, is appreciated by both children and adults.

Also, Suzanne Semmes Dennis stated in her 2010 article “An Introduction to the History of Juvenile Literature” that “it was safer to assume that whatever was told and sung by adults would eventually reach the ears and eyes of children, even though only a small percentage of children learned to read.”  Although some authors write to educate, inform, and expose the ills of society, such as child neglect, abuse, and deprivation, the child is rarely the focal point of everything that occurs to them. Most authors write solely to improve their economic situation, and since adults are the working class with money, they tend to focus on them, diminishing the children’s voices.

A school of thought asserts that children lack the skills and knowledge to appreciate a literary work. According to Huck (1979), the content of children’s literature is heavily influenced by the author’s knowledge, involvement, experience, and comprehension of children. It could be said that, after the end of colonialism, the majority of African writers sought to correct the negative stereotypes about the continent; consequently, children played minor roles. Achebe, for instance, is hailed as one of the pioneers of African literature, but in his works, children always play secondary roles. For instance, in ‘Things Fall Apart,’ after killing Ikemefuna, Nwoye is forced to alienate himself from his father and his fundamental values. Okonkwo believes he is too weak, despite being a child. Instead of safeguarding Ikemefuna, Okonkwo murders him to demonstrate that he is not a weak man. In addition, No Longer at Ease contains no children. Achebe centered his entire work on the conflict between European and African traditions.

In Ghana, the narrative was similar as the majority of early writers portrayed adults as their protagonists. For instance, Ayi Kwei Armah’s “The beautiful ones are not yet born” mostly talks about the corrupt systems in Ghana “Our sister killjoy” by Ama Ata Aidoo does not mention children at all. She discusses how Africans in the diaspora adopt the colonial culture and neglect the African culture. All of these examples demonstrate that children have been relegated to the background of literary works.

In contemporary times, however, authors such as Amma Darko, Lawrence Darmani, Mamle Wolo, and the like deserve praise for their outstanding contributions to children’s literature. Darko exposes the exploitation and manipulation of children, especially female children. In Housemaid, she talks about the exploitation of a young maid, Efia, by her mother and grandmother out of sheer greed and destitution.   This highlights Rosseau’s assertion that infants are innocent souls and also reaffirms Dennis’s words. (2010). In this book, children play both leading and supporting roles. (Darko, 1998).

Again, in “Faceless” (2004), Darko focuses on Streetism and tells the tragic tale of Ghana’s capital city, Accra’s street children. She discusses significant social issues such as prostitution, poverty, broken families, and irresponsible parenting, as well as their impacts on children and the community. In addition, Lawrence Darmani is renowned for his interest in youth, specifically adolescents. Almost all of his works, including blood invasion, first Term Surprises, entertainment night, and Grief Child, to name a few, demonstrate his interest in children, as they all center on children.

His first novel, Grief Child (1999), was named the finest African book by the Commonwealth Writers’ Prize. In this novel, Darmani describes a young boy, Adu, who had a loving and tranquil childhood with his family until the tragic death of all of his family members, leaving him an orphan and alone in the world. He talks about grief, loss of family, the responsibility of the community towards the raising of a child, etc.

In addition, Blood Invasion (2004) tells the tale of a disease that challenges the strength of family, friendship, and love. When Cudjoe is posted to his homeland after completing nursing school and an internship, he is thrilled to serve his people. However, this contentment is short-lived as he is confronted with a fatal disease that stigmatizes and destroys people mercilessly.

In this novel, Darmani again concentrates on youth and assigns them significant roles.

Research Topic: Childhood in the African novel: A study of Mamle Wolo’s “Kaya Girl” and Lawrence Darmani’s “Grief Child”.

Efua Sutherland’s

Also, in Powder Necklace (2010), Nana Ekua Brew-Hammond depicts Lila, a teenage girl who resides in London with her divorced immigrant mother. Her mother sends her to Ghana for secondary school, claiming that she “needs a break” from Lila’s troublesome ways. Last but not least, Wolo depicts the child not only as a social or psychological being but also as a unique, dynamic individual who can influence and cause changes and Kaya Girl is one such book. Even though the trends seem to be changing, in Academia, not much has been done on Children’s literature. One may ask what benefit this scholarly research on Ghanaian childhood tends to gain.

This will be a study that particularly deals with a practically “unexplored” area such as Ghana. According to Yitah and Komasi (2009), many publications have dealt with Africa in general, but the inclination in such works has typically been toward material that can be called representative of a region, not the whole continent. Having literature on Ghanaian childhood will “help the Ghanaian child to discover his own identity and cultural heritage” In a country that has yet to fully recover from the effects of colonialism and cultural imperialism (Segun 79), it should have a place in current theory-driven scholarship on African children’s literature because very little has been said on the subject in this country. It is in light of this that my interest in the depiction of childhood in Ghanaian’s children literature stems.

1.2 Statement of the problem

Despite the significant role children play in societies globally, their portrayal in literature, especially in the Ghanaian context, has historically been marginal and peripheral. The literary world, for a considerable duration, has treated children as secondary characters, often overlooking their complex experiences and identities. This oversight is mirrored in African literature, where the focus predominantly has been on adult experiences, with children frequently relegated to the background or portrayed through simplistic lenses of innocence or vulnerability.

This study is necessitated by the limited scholarly focus on the nuanced depiction of childhood in Ghanaian literature. While there have been some explorations into specific aspects of childhood, such as the impact of child abuse or the plight of the girl-child, a comprehensive study that holistically addresses the construction of childhood in Ghanaian literature remains scant. The existing literature primarily centers on the second half of the 18th century and beyond, with earlier periods receiving less attention. Furthermore, there is an apparent gender bias in the representation and analysis of childhood, with male narratives often being more dominant and celebrated.

Given the growing recognition of children’s roles in literature through the works of authors like Darmani, Wolo, and Darko, it becomes imperative to delve into how childhood is depicted in their narratives. This study seeks to fill the gap in literature by providing a focused examination of childhood in Ghanaian literature, contributing to a more balanced and inclusive understanding of this critical phase of human development

1.3. Purpose of the Study

The primary purpose of this study is to conduct an in-depth exploration of the portrayal of childhood in Mamle Wolo’s “Kaya Girl” and Lawrence Darmani’s “Grief Child.” These novels have been purposefully selected for their distinct and insightful representation of childhood within the Ghanaian context. The study aims to navigate beyond the traditional narratives of childhood innocence or vulnerability, exploring  richer, more nuanced portrayals.

This research endeavors to engage in a gendered literary analysis, examining how both male and female childhoods are constructed within these texts. A critical reading of these novels will serve as the foundation of this analysis. The choice of texts by Wolo and Darmani is strategic, as it allows for an examination of childhood representations from both female and male authorial perspectives. This approach is crucial in understanding how gender influences the construction of childhood identities in literature.

By analyzing how these authors depict childhood, this study seeks to challenge and expand the existing narratives within Ghanaian children’s literature. The research will contribute to a better understanding of the complex dynamics of childhood in Ghana, offering insights into how children’s literature can reflect and shape societal views on childhood. Furthermore, this study aims to illuminate the roles and identities of children in Ghanaian society, contributing to the broader discourse on children’s literature in Africa and addressing the existing gaps in scholarly research on this subject

1.4. Objectives of the research

The study seeks to;

1.Explore how male childhoods are constructed in the two selected texts.

2. Discuss the construction of female childhood in the two selected texts.
3. Evaluate the implications of the construction of childhood in the texts for the Ghanaian child.

1.5. Research Questions

• How are male childhoods constructed in the two texts?
• How are female childhoods constructed in the two texts?
• what are the implications of the construction of childhood in the texts for the Ghanaian child?

1.6. Significance of the Research in the Field of Literature

Childhood in Ghanaian novels in an unexplored area so my study will be an important academic contribution and will contribute to the scanty body of scholarship on this very important corpus for future research in the subject area. As established by Yitah and Komasi (2009), many publications have dealt with Africa in general, but the inclination in such works has typically been toward material that can be called representative of a region, not the whole continent.

Having literature on Ghanaian childhood will “help the Ghanaian child to discover his own identity and cultural heritage” In a country that has yet to fully recover from the effects of colonialism and cultural imperialism (Segun 79). This study will have a place in current theory-driven scholarship on Ghanaian children’s literature, because very little has been said on the subject The expanding discipline of childhood and young adults studies offers an integrative framework for interdisciplinary research and teaching, as well as an analysis of contemporary education policy and practice, etc. Childhood is now a global issue that necessitates a re-evaluation of conventional approaches to education. It is also a very personal issue for every one of us, including scholars, policymakers, parents, and Ghanaian children. (Kehily and Swann 2003: ii).

1.7. Scope and limitation

This research is a textual analysis, and as such, the study will focus exclusively on the two texts under discussion (Kaya Girl and Grief Child), identifying, investigating, and analyzing childhood in the two texts both purposely sampled from Ghana. These novels were chosen because they speak to childhood in Ghana. For this study, both male and female child characters from the two texts were sampled.

1.8.    Author Information.

1.8.1. Maamle Wolo

Mamle Wolo, an award-winning writer with Ghanaian and German ancestry, was born and lived in Ghana until the age of 14, at which point she relocated to the United Kingdom. She then attended Cambridge University, where she earned her BA, MA, and MPhil in Latin American Studies. Since 1992, she has been a resident of Ghana, where she works as a development consultant on a freelance basis. She began writing fiction in the late 1990s and has since published numerous short stories under the pen name Mamle Kabu in various anthologies and periodicals throughout Africa, the United Kingdom, and the United States. One was “The End of Skill,” which was nominated for the 2009 Caine Prize for African Writing.

With her short story “The Kaya Girl,” Mamle also won the 2011 Burt Award for African Literature.

As the Co-director of the Writers’ Project of Ghana, she juggles work, writing, and caring for her two beautiful children.

Research Topic: Childhood in the African novel: A study of Mamle Wolo’s “Kaya Girl” and Lawrence Darmani’s “Grief Child”.

1.8.2. Darmani, Lawrence

The Ghanaian novelist, poet, and publisher Lawrence Darmani was born on October 25, 1956. He is a prolific and multiple prize winner in children’s writer His first novel, Grief Child, won the 1992 Commonwealth Writers’ Prize for the finest first book from Africa. In particular, Lawrence Darmani is known for his interest in children and adolescents. He also writes devotional articles for Our Daily Bread, a publication that affects the lives of Christians all over the world.

He is the editor-in-chief of Step magazine and the CEO of Step Publishers. He is married and he resides in Accra, Ghana. Among his numerous works are Grief Child (1991), Stories from Africa 4 (1996), Young and Restless: Challenges Facing the Youth of Today (1999), blood invasion (2004), first-Term Surprises, entertainment night, and others. First published by Chariot Victor Publishing in 1991, Darmani’s Grief Child won the 1992 Commonwealth Writer’s Prize for “Best First Book from the Africa. As a regional trainer for Africa, Darmani gives his time selflessly in equipping and encouraging writers across the region

1.8. 3. Research Approach

Due to the nature of the research, the data needed to answer the questions above is qualitative.  Creswell and Creswell (2018) define Qualitative Research as an “approach for exploring and understanding the meaning individuals or groups ascribe to a social or human problem. This process of research involves emerging questions and procedures, data typically collected in participant’s setting, data analysis inductively building from particulars to general themes, and the researcher making interpretations of the meaning of the data” (41).

Dörnyei (2007) also posits that qualitative research involves data collection procedures that result primarily in open-ended, non-numerical data which is then analyzed primarily by non-statistical methods. Typical examples of this research is; interview research, with the transcribed recordings analyzed by qualitative content analysis. Qualitative research is interpretive. It aims at an in-depth description and measures what is assumed to be a static reality in the hopes of developing universal laws.

It is an exploration of what is assumed to be a dynamic reality. It does not claim what will be discovered in the process of research. That is why the basic element of analysis is the word or idea. Relating to this, Bogdan and Taylor define qualitative research as a research procedure resulting in descriptive data in the form of written or spoken words from the people and objects being observed. This study explores how the two selected Ghanaian authors have constructed childhood based on their gender. The texts were purposefully sampled because they talk about childhood.  The secondary source of data includes articles, thesis, and other books

Research Topic: Childhood in the African novel: A study of Mamle Wolo’s “Kaya Girl” and Lawrence Darmani’s “Grief Child”.

1.8.4. Research Design

The design for this work is textual analysis. Textual analysis is a term used to understand texts. It includes exploring the languages, symbols, patterns, and pictures in the text. A reader’s textual analysis should include a summary of the author’s topic, an explanation of how the author’s viewpoint relates to the ongoing discussion about the specific topic, etc. Textual analysis helps us to understand and have a thorough awareness of how people communicate and share their experiences through their texts.

Kaya Girl by Mamle Wolo

1.8.5 Grief Child by Lawrence Darmani

The above-mentioned novels both have one child protagonist and many other child characters who play pivotal and supporting roles in the plot and the gradual development of the entire novel. The novels being analyzed were selected due to the element of childhood being crucial to their progress. The novels follow a child protagonist whose fate has been sculpted by his family life or lack thereof of it. Darmani’s novel represents a sad depiction of the macabre childhood of a majority of orphans in contemporary times.

He has hovered treacherously over the thin line of child abuse. This vulnerability has been revealed in Dickens’s novels in the form of exploited and abused children, particularly in Oliver Twist: The orphaned Oliver.
Just like Oliver’s twist, the Grief child’s main protagonist Adu is an orphan child, and his perspective has been portrayed in the story which provides a wide insight into the analysis of childhood in Ghanaian literature.

1.9.1.  Organization of Chapters

Five chapters make up the structure of the study: The first chapter contains the general introduction, which comprises the study’s context, problem statement, research objectives, research questions, significance and purpose, and scope. The relevant literature review is presented in the second chapter, which contributes to a deeper understanding of the study. Chapters three and Four a critical analysis of the two texts, describing in detail the depiction of the child in each, while chapter five discusses the similarities and distinctions between the images presented by the two authors, and provides a summary, conclusion, or recommendation(s).