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Wole SoyinkaA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
In 1960, Nigeria received independence from England, though it was not until 1963 that Nigeria broke free completely to form a republic. As the country transitioned from white rulers from the outside to Black rulers from within, it faced additional problems. With tribal groups in the West, North, and East regions carrying out their own politics to suit their own beliefs, questions resulted about control for the central government. As English-parliament style transitioned to US-president style, a military coup took place, leading to a countercoup, which led to a civil war in Nigeria from 1967 to 1970. In 1966, to try to prevent a war, activist Soyinka secretly met with the governor of the Eastern region, which eventually seceded from Nigeria during the civil war. As a result of the war and his involvement with the governor, Soyinka was imprisoned for almost two years until the end of the war. In the time between the independence of Nigeria from England and the Nigerian civil war, Soyinka, teaching in the English department at Obafemi Awolowo University in Nigeria, composed “Telephone Conversation,” a poem about control with both sides taking it from the other through various means, such as harsh speaking tones, sarcastic humor, etc. The poem mostly tackles race, or skin color, as the reason for the power dynamics, but more intricate ideologies are at play when it comes to racist thinking.
In 1960s England, presumably the setting for “Telephone Conversation,” it was common for people seeking housing to find signs that read “No coloureds, no dogs, no Irish.” In 1968, the Race Relations Act passed, introducing equality in theory but not in practice. In the same year, Yemen native Mahesha Upadhyaya became the first person in the United Kingdom to bring a lawsuit to court using the Race Relations Act as support. Upadhyaya experienced a phone call very similar to the speaker in Soyinka’s poem in which the landlord acknowledged the act but did not care because selling to people of color would affect rentals and sales of his other properties. In his poem, Soyinka extends the dialogue, given his penchant for playwriting, and inserts his trademark humor to illuminate the absurdity of not renting to a reliable tenant only because of skin color. At the end of the poem, the speaker requests that the landlady take a look at him in person. Interestingly, in Upadhyaya’s case, he did see the intended property before calling, so the caller was aware of his exact color during their conversation. Color mattered more to the landlord than steady employment status.
By Wole Soyinka