The Famished Road (Paperback)

~ (Author) "IN THE BEGINNING there was a river..." (more)
Key Phrases: burnt van, dead can answer, razor incisions, Madame Koto, Green Leopard, Black Tyger (more...)

Editorial Reviews

Amazon.com Review

You have never read a novel like this one. Winner of the 1991 Booker Prize for fiction, The Famished Road tells the story of Azaro, a spirit-child. Though spirit-children rarely stay long in the painful world of the living, when Azaro is born he chooses to fight death: "I wanted," he says, "to make happy the bruised face of the woman who would become my mother." Survival in his chaotic African village is a struggle, though. Azaro and his family must contend with hunger, disease, and violence, as well as the boy's spirit-companions, who are constantly trying to trick him back into their world. Okri fills his tale with unforgettable images and characters: the bereaved policeman and his wife, who try to adopt Azaro and dress him in their dead son's clothes; the photographer who documents life in the village and displays his pictures in a cabinet by the roadside; Madame Koto, "plump as a mighty fruit," who runs the local bar; the King of the Road, who gets hungrier the more he eats.

At the heart of this hypnotic novel are the mysteries of love and human survival. "It is more difficult to love than to die," says Azaro's father, and indeed, it is love that brings real sharpness to suffering here. As the story moves toward its climax, Azaro must face the consequences of choosing to live, of choosing to walk the road of hunger rather than return to the benign land of spirits. The Famished Road is worth reading for its last line alone, which must be one of the most devastating endings in contemporary literature (but don't skip ahead). --R. Ellis

From Publishers Weekly

Teeming with fevered, apocalyptic visions as well as harrowing scenes of violence and wretched poverty, this mythic novel by Nigerian short-story writer ( Stars of the New Curfew ) and poet Okri won the 1991 Booker Prize. The narrator, Azaro, is a spirit child who maintains his ties to the supernatural world. Possessed by " boiling hallucinations, " he can see the invisible, grotesque demons and witches who prey on his family and neighbors in an African ghetto community. For him (and for the reader), the passage from the real to the fantastic world is seamless and constant; many of the characters--the political thugs, grasping landlords and brutal bosses--are as bizarre as the evil spirits who empower them. In a series of vignettes, Azaro chronicles the daily life of his small community: appalling hunger and squalor relieved by bloody riots and rowdy, drunken parties; inhuman working conditions and rat-infested homes. The cyclical nature of history dooms human beings to walk the road of their lives fighting corruption and evil in each generation, fated to repeat the errors of the past without making the ultimate progress that will redeem the world. Okri's magical realism is distinctive; his prose is charged with passion and energy, electrifying in its imagery. The sheer bulk of episodes, many of which are repetitious in their evocation of supernatural phenomena, tends to slow narrative momentum, but they build to a powerful, compassionate vision of modern Africa and the magical heritage of its myths.
Copyright 1992 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.

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Product Details

• Paperback: 512 pages
• Publisher: Anchor (May 1, 1993)
• Language: English
• ISBN-10: 0385425139
• ISBN-13: 978-0385425131
• Product Dimensions: 7.9 x 5.2 x 1 inches
• Shipping Weight: 12.8 ounces (View shipping rates and policies)
• Average Customer Review: 4.2 out of 5 stars  See all reviews (58 customer reviews)
• Amazon.com Sales Rank: #125,044 in Books (See Bestsellers in Books)

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Customer Reviews

Most Helpful Customer Reviews

24 of 24 people found the following review helpful:

4.0 out of 5 stars Spirit Child in the world, September 20, 2004

By	C. Gilbert "frumiousb" (Amsterdam, the Netherlands) - See all my reviews (TOP 100 REVIEWER)    (REAL NAME)

If you have read the rest of the reviews on this page, you will have already gotten the message that the book takes some effort to read. This, for me, was mostly true at the beginning. It was obvious straight away that it drew heavily from a tradition of mythology to which I had no access. It is not so much that this was a barrier to my being able to read it; it is more that I kept expecting it to be a barrier and initially fought the flow of the book, trying to make sense of things that were not important to understand precisely.

To my mind, there are several ways to read magic realism. One way is to understand all the mythology and all the references that are included and use that understanding to directly enrich the "real" level of the book. The other way is to let the real and the mythic flow together and hope that the author is skilled enough to knit the two elements such that you do not need an academic understanding to follow the story. I think that Okri is a terrifically talented writer, and I found that once I got over my initial discomfort I was more than able to follow the narrative. The plot, to me, did not seem particularly hidden or unclear and I did not have the feeling that it was written for academics.

_The Famished Road_ tells the story of Lazarus/Azaro, a spirit child who chooses to stay in the impoverished world of reality, rather than return to the ideal world of the spirits. His family struggles with the impotence of their situation, baffled by politics and poverty and conditions beyond their control. The world of the compound is full of magic both real and imagined as the characters search for a way to influence their lives in the face of forces which seem to make things inalterable. Myth becomes a kind of resistance against the politicians who fight in the street and hand out poisoned milk.

I found it beautiful to read, and only slightly less rich because I did not know the surrounding mythological setting. If you are interested in the book, do not be put off by the more frightening reviews. It is not as dense as it initially appears and once I got used to the prose, I found that it read quickly and very smoothly.

16 of 17 people found the following review helpful:

5.0 out of 5 stars Storytelling in the key of myth, in the rapture of magic., April 23, 2006

By	Dr. Kasumu O. Salawu (Maplewood, New Jersey USA) - See all my reviews (REAL NAME)

Cave-dwelling humans told their own stories with well placed marks on walls, precise sounds and bodily gestures. In all cultures, to delight and instruct, people tell stories and recite poetry that imitate life as they experience it but not necessarily palpably. Not only are these stories different but so are their modes of presentation. This review should prepare you for the interwoven anecdotes that comprise The Famished Road.

I am a Yoruba and the narrator of Okri's book, Azaro, is an `abiku' which literarily means `one born to die' in the Yoruba language. Ultimately, we are all born to die so abiku refers strictly to consecutive deaths of an infant; it underscores the eternal belief of Yoruba people in reincarnation and names like Kokumo, (will not die again); Malomo, (don't leave again); and Rotimi, (stay with me), are supplications to abiku children. When the pleas are not heeded, radical measures are sometimes taken in the form of branding an already dead infant with the hope that the blemish will lead to its rejection by peers in the spirit world. It is almost always observed that a child born right after a `branded' one not only returns with the exact `mutilation' as a birthmark but it also does not return to the spirit world! One must suspend disbelief to experience osmosis with Azaro's accounts.

From time immemorial, raconteurs told stories replete with myths and superstitions. In much more recent memory, the philosopher, Aristotle, proposed structural elements for Western stories: plot, to unify time, space and action in linear, palpable and causal ways respectively; characters that are rationally motivated; realistic points of view, settings and so on. Sans Aristotle, sans formula, this story is narrated at different levels of consciousness: it is a diffusion of the impossible or implausible into earthly possibilities, suffused with space-time-warping phenomena; anecdotes narrated in the media of haunting by the dead; dreams that foreshadow or flash back to reality; Kafkaesque transformations into creatures interpenetrating one another; grotesque, carnivalesque occurrences and laughable terror a la Rabelais; mutual, mimetic dramatization among incongruous acts; simultaneous dealings with God and the devil and other rich ambiguities! As we are alone in our essential moments - birth and death, for example, Okri may have made us forbidden eavesdroppers on Azaro's essential moments.

If we believe some deconstructionists, Okri's narrator, Azaro, chronicled the emergence of Nigeria from British colonialism through the third eye that writers in the tradition of Magical Realism employ to create fantastic and surreal images, allegories, metaphors and symbolisms. Another character in the book, Madame Koto, stands in for the dilemma of the upper class in that country when confronted with insufferable deprivation of others. The use of Magical Realists' techniques for political indictment situates Okri squarely in a literary lineage stretching from Kafka through Jorge Luis Borges, (The Garden of Forking Paths, [Collection]), and Gabriel Jose Garcia Marquez. Nobel laureate, Marquez, (One Hundred Years of Solitude), wrote "The Autumn of the Patriarch" in 1975 to expose one of the darkest hours of political history in Latin America. Itself an oxymoron, Magical Realism, resonates with the opposite worlds it yokes together in this book.

Not totally unrelated to the effects of colonialism, Okri has probably ingested as much English Literature as any other former winner of the Booker Prize for literature so he knows when and how to break rules to achieve his own designs. This book confirms that he is an extraordinary prose stylist and his turns of phrase are worth the price of the book. Please visit the bookstore near you and read the last line in The Famished Road and if it moves you, you are ready for a forgotten human journey.

16 of 17 people found the following review helpful:

4.0 out of 5 stars To the happy few..., November 19, 1998

By A Customer

I think there has been some kind of general misunderstanding about THE FAMISHED ROAD. The misunderstanding went on with SONGS OF ENCHANTMENT, its sequel.

I'm a scholar and I devote most of my academic time to the study of contemporary African fiction, with special care for novels written in English. Most readers have not understood the book properly, because they thought that this was pure fancy, or, worse, sheer delirium, talented though it might be.

What must be repeated over and over again is that Okri is indebted to such Yoruba authors like D.O. Fagunwa or the Anglophone pioneer Amos Tutuola. Concerning Azaro's status as an abiku (or spirit-child), many readers (and many critics in the press as well, which is really frightening!) thought that this was a new situation that Okri had made up. The fact is that abikus (or ogbanjes, the Igbo equivalent) are part and parcel of West African culture. So, Azaro's whole story is not pure fancy; it is myth in its deepest sense.

Once you realize that, everything is clearer, isn't it? The various episodes, such as the political mayhem or Madame Koto's gradual transformation, can be seen in the light of myth. The abiku child is not just a metaphor or an allegory (though Okri uses it ALSO as an allegory, at the end of the novel): Azaro's predicament means that he wants to escape his epic status to become a real person, a human being of flesh and blood. All along the novel, his double vision is at the same time an advantage and a threat.

By presenting the reader with a character who wants to become something else than a mythical figure, Okri passes a metafictional comment on writing and novel-reading.

Guillaume Cingal

(Author of an 84-page pre-PHD memoir: "Child characters in Breyten Breytenbach's MEMORY OF SNOW AND OF DUST, Nuruddin Farah's MAPS and Ben Okri's THE FAMISHED ROAD.)

Obviously, there is a lot that should be said or that I could say about Ben Okri's fiction, but I wouldn't have enough room here.