ISSUE NUMBER TWO* 1997 bers of women folk are elected into leadership positions where they can effectively participate in decision making processes'. Joy Ogwu in her presentation argues that the issue of gender oppression must be looked at from the view of a synergy of an economic and political points of view. According to her, the most significant obstacle for the woman is basically economic. Women's limited participa- tion in politics, she contends is an expression of their being economically underprivileged. The impact of government sponsored women's organisations forms the kernel of Abiodun Idowu's contribution in the third chap- ter. Margaret Vogt examines the military and women in politics and concludes that the mili- tary in Nigeria by its culture and orientation is not used to operating on equal terms with women hence the difficulty of accommodating them in government. 'The military probably without deliberately doing so, has entrenched a system bias against the extensive involvement of women in govern- ment, because they themselves have evolved through a strictly sex-segregated world.' Omowunmi Ogunsola and Adesina Sambo examine in the succeeding two chapters the related issue of women in Intra party politics and Women and the struggle for elective office during the transition period. Both address the difficulty of the woman politician in making a breakthrough in intra party politics having to run against a structural operation dominated by men which is not too sympathetic to the cause of women. . Sambo concludes: 'the lesson from the ex- perience of women's struggle for political power in the aborted third republic is clearly that the chance of success in elections are contin- gent upon the effective control of the structures of political parties.' This, she added, must be aided by the adop- tion of affirmative action, which is supposed to be a government-initiated advocacy for the spe- cial rights of women. Mary Kanu signs off the section with an examination of the role of the media in the campaign for women empower- ment. She blames the media for under-report- ing women politicians, but also enjoins the women to invest in publicity like their male counterparts. In the second part, the reader encounters some of the key players in the struggle for women participation in the politics of the Ni- gerian Third Republic. Quite a revealing pro- file except that these were silent on the less than complimentary role some of them played even against some of their own. Often times, oppression is made possible only by the com- plicity of some members of the oppressed class. It is interesting to note that inspite of the many odds against them quite a number of women made significant contribution to the political process. Some of these women no doubt will serve as an inspiration to others wishing to follow in their steps. But the reader might want to know if Glory Kilanko of Women in Nigeria (WIN) is a politician or pro-democracy activist. She did not belong to either of the two government sponsored parties. She probably would have been more useful in the book as a resource per- son on the role of women-focussed NGOs. This is a piece of work that goes beyond the usual sloganeering, a well contrived document that should ginger the desired response from both the 'oppressed' and those who serve as their oppressors. • Adeniji is a literary arts reporter with the Guardian of Lagos. Write Me From Iowa James Gibbs ADMINISTRATOR, novelist, literary stylist, Chukwu- emeka Ike's latest offering purports to be tran- scriptions of twenty-six tapes sent by Ify, a Nigerian writer participating in an interna- tional programme for writers in Iowa, to her family in Ni- geria. An 'author's Note'indi- cates that The story reflects the actual experience of a Ni- gerian writer who partici- Gleidori Boom Supplement Chukwuemeka Ike, TO MY HUSBAND FROM IOWA. Malthouse press, Lagos, 1995. pated in the International Writing Programme (sic) of the University of Iowa' and points out that 'Ify, who tells the story, is, however, imaginary, as are the other characters.' The major interest is in the writer's response to America, to chat shows, women priests, party politics, the treatment of American Indians and of writers, to li- brary facilities, super mar- kets, and so on and so forth. Other considerations, for ex- ample the persona's Nigerian citizenship and Anglicanism, contribute to individuality. Given the 'Author's Note' and the tenor of the chapters, the •ISSUE NUMBER TWO* 1 9 9 7* author's decision to adopt a female persona represents the major act of disguise, the most creative element in the fictionalisation. The mask never covers all of the face and is lightly worn: com- ments on clothes and ac- counts of relationships with men and women on the writ- ing programme are presented as the characterisation of the femi- nine voice. elements in Ike's decision to cross the gender barrier does not sur- prise. Anthills of the Savan- nah has already shown one established Nigerian writer responding to the comments of women readers and critics. For what its worth, I find the use of a female persona brave and intriguing. Ify is curious, intelligent, anxious to under- stand what she sees in the United States and keen to organise her responses. Only very occasionally (see below) does she endow her husband with unexpected wisdom that is surprising and worrying. From what has been said, it will be apparent that this is a travelogue: a Nigerian visits the US, and writes about experiences. The most immediate comparison is with America, their America by Ike's near age-mate J.P Clark, now Bekederemo Clark. But the 'student' in- volved is far more mature, far more anxious to get down and communicate information and make the most of a 'learn- ing experience.' The attraction of the book is in the elegance with which it is written. Ike's sentences are easy and graceful that spare us almost completely the hesitations and repeti- tions we might have expected in a transcript of a recording. Indeed, the pretence that the work is a transcription is quickly forgotten as, in a measured, finely chiselled style, Ify records reactions. One gets the impression of a Giendon Books Supplement 10 conscientious, perhaps some- what isolated participant on a writing programme, witri no creative project in hand, 'she' turns with all the self-disci- pline of a model student to the task of recording reactions to events around 'her'. Like a compulsive diarist, 'she' is for ever recording dates, ad- dresses, telephone numbers, percentages, names.... As a responsible national representative on a writing programme, Ify interviews ftl- low participants about their positions as writers, the condi- tions i nder which they work and the incomes they com- mand. 'She' also investigates - without positive results - the possibility of using US publish- ers, and notes with particular care American attitudes to au- thors. On learning about the appointment of Poet Laureates in US states, she' warns her shadowy but presumably knowledgeable husband, 'I'll need your advice when I get home, on what strategy to adopt to persuade our govern- ments and the private sector to do something tangible to nur- ture creative writing in Nige- ria.' (250) Ify is responsive to ideas and prone to make state- ments of self-dedication - for example, she likes the idea of poetry readings, and after a visit to Tom Sawyer territory (Hannibal, Missouri), 'she' re- solves: 'I'll write on any theme in which I feel competent and knowledgeable. I'll give more consideration to the problems of child development, on which little good fiction has so far been written in Nigeria, drawing heavily on my own experience as a developing child, and on a mother and teacher. So help me God.' (259). The presentation of the writer picking up ideas and becoming aware of new re- sponsibilities are the most interesting of the book. But even they are pursued in a somewhat dilettante way so that even the undertaking to interview fellow participants is never pursued rigorously. All in all the book remains on the level of a well-written travelogue to be read with pleasure, and with admira- tion for the careful way in which facts and experiences have been shared. One can enjoy the asides, the notes that are jotted down for the attention of those in Nigerian universities and govern- ments. One can be surprised by figures and learn some his- tory. There is a 'gentlemanly' understanding that these fac- tual elements will never amount to anything as sub- stantial as a programme or as intellectually challenging as a thesis. While there is, despite the decision to speak through a female persona, nothing earth shattering in Ike's new book, there should be admi- ration for a job well done, and thanks for insights into life in the United States and on a Writers' Program. •Gibbs is a professor of English at the University of the West of England. Bristol. Metaphors of Womanhood Bose Shaba Yvonne Vera, UNDER THE TONGUE. Baobab Boobs, Harare. 1996, 114pp. The River will become a tongue. Under the tongue are hidden voices. Under the tongue is a healing silence. I see the river. I see Grandmother.