God's Bits of Wood. [Paperback]

Sembene. Ousmane (Author)

Book Description

Publication Date: January 1970

Tells the dramatic story of the 1947-8 strike on the Dakar-Niger railway. By the author of "Black Docker".

--This text refers to an out of print or unavailable edition of this title.

Editorial Reviews

About the Author

Sembene Ousmane, film director and writer, was born in Senegal  and worked as a fisherman before attending  l'Ecole de Ceramique at Marsassoum. He then worked as a plumber, a bricklayer and an apprentice mechanic in Dakar.  After the war he became a docker and trade union leader in Marseilles, and out of this experience he wrote Le Docker Noir (1956). He had also published Oh Pays, mon Beau Peuple (1957), L'Harmattan (1964) and the collection of stories, Voltaique (1962), which was translated as God's Bits of Wood and appears in the African Writers Series (AWS). He has made several films including one of Le Mandat (translated as The Money Order with White Genesis AWS). His film of Xala met with a great success in the New York film festival. --This text refers to an out of print or unavailable edition of this title.

Product Details

• Paperback
• Publisher: Doubleday (January 1970)
• ISBN-10: 0385044305
• ISBN-13: 978-0385044301
• Product Dimensions: 6.9 x 4.1 x 0.8 inches
• Shipping Weight: 7.2 ounces
• Average Customer Review: 4.6 out of 5 stars  See all reviews (16 customer reviews)
• Amazon Best Sellers Rank: #3,606,472 in Books (See Top 100 in Books)

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Customer Reviews

Most Helpful Customer Reviews

56 of 56 people found the following review helpful:

5.0 out of 5 stars A gem of African Literature by the Father of African Film, November 10, 2002

By 

Arthur Camara (Waukegan, IL) - See all my reviews
(REAL NAME)   

This review is from: God's Bits of Wood (Paperback)

Sembene Ousmane's third novel, God's Bits of Wood, was originally written and published in French as Les Bouts de bois de Dieu. The novel is set in pre-independence Senegal and follows the struggles of the African trainworkers in three cities as they go on strike against their French employers in an effort for equal benefits and compensation. The chapters of the book shift between the cities of Bamako, Thies, and Dakar and track the actions and growth of the men and women whose lives are transformed by the strike. Rather than number the chapters, Ousmane has labeled them by the city in which they take place, and the character who is the focal point of that chapter.

As the strike progresses, the French management decides to "starve out" the striking workers by cutting off local access to water and applying pressure on local merchants to prevent those shop owners from selling food on credit to the striking families. The men who once acted as providers for their family, now rely on their wives to scrape together enough food in order to feed the families. The new, more obvious reliance on women as providers begins to embolden the women. Since the women now suffer along with their striking husbands, the wives soon see themselves as active strikers as well.

The strategy of the French managers, or toubabs as the African workers call them, of using lack of food and water to pressure the strikers back to work, instead crystallizes for workers and their families the gross inequities that exist between them and their French employers. The growing hardships faced by the families only strengthens their resolve, especially that of the women. In fact, some of the husbands that consider faltering are forced into resoluteness by their wives. It is the women, not the men, who defend themselves with violence and clash with the armed French forces.

The women instinctively realize that women who are able to stand up to white men carrying guns are also able to assert themselves in their homes and villages, and make themselves a part of the decision making processes in their communities. The strike begins the awakening process, enabling the women to see themselves as active participants in their own lives and persons of influence in their society.

This book is wonderful yet sadly under-appreciated. Ousmane's handling of issues such as the politics of language, indigenous resistence, the cultural costs of forced industrialization, and the changing role of women really has the power to change the way people think. And yet, maybe the book's reach and resonance are the reasons that God's Bits of Wood is not widely read and taught in schools.

9 of 9 people found the following review helpful:

5.0 out of 5 stars An epic, tense description of a struggle for recognition, April 5, 1999

By A Customer

This review is from: God's Bits of Wood (Paperback)

A book of protest, made all the more relevant by the fact that it concerns workers from a universal vocation - the railworkers' industry. Epic in scope, yet founded in community values and beliefs, Ousmane articulates the protest brilliantly. What is also special is his portrayal of women as a force for change - especially considering the chauvinistic politics of Africa today.

15 of 17 people found the following review helpful:

5.0 out of 5 stars "God's Bits Of Wood" a Transcendent Novel of Excellence, April 14, 2003

By A Customer

This review is from: God's Bits of Wood (Paperback)

In Sembene Ousmane's "God's Bits Of Wood" there is a detectable apect of human rights that surpasses all distinction. He points out the dilemmas of a neo-colonial state without giving them the weight of the novel. This novel utilizes this historical event to show humans at their best. The book shows the power of humankind to become humane without compromise. He displays well his ideas on race, gender, and human rights but by the end of the book we are led to an even more enlightening state of thinking and existing, which is to live without hate, even those who hate you, "[...] you must not let hatred enter your heart" (191). This is truly a great message to give while expressing such a triumphant story and event.
The novel also seems to contain a little intertextuality with the poetry of Muyaka (a 19th century poet who composed orally in his native tongue of Kiswahili and never saw the effects of colonialism). This relationship is most notable after reading his famous poem "Seeing Is Believing" (Ua La Manga)
-I've seen a hyena and a goat keeping good company.
-Also a hen and a hawk bringing up their chicks together
-And a blind person showing peopl the way;
-This was not told to me, I obvserved it with my own eyes.
I see the relationship throughout this poem but specifically with the third line, since one of the leaders of "Gods Bits Of Wood" is a blind woman named Maimouna, "All of the women seemed to want to walk behind Maimouna [...]" (201).
Ousmane also confronts the question of African Literature, and whether it can exist any mediums other than indigenous African languages. Throughout the book, which was originally, written in French, Ousmane will say such and such said in French when the novel clearly is already in French, "and then, holding out his hand to the two whit men, he added in French, 'Good morning, gentlemen" (125). By doing this throughout the novel Ousmane implies that the original is truly not in French but only exists that way (and in its English form) to cater to us, almost in an act of charity. The lines from one of the main characters embody this greatly, "That is all I had to say, and I have said it in French so that he would understnad me, although I think this meeting should have been conducted in Oulof, since that is our language" (177). He has written his novel in French for the same reason that Bakayoko speaks in it, because unlike Bakayoko,(and Ousmane) the French despite being surrounded by Oulof never picked it up.
All in all Ousmane accomplishes creating literature that is worthy of the world reading it. Like so much of African Literature it is masterful, new and refreshing, but sad because it is not enjoyed as widely as it should be.