The secrets that keep us

A book reviewer, SIMA ESSIEN, dissescts Vaults of Secrets, a collection of short stories, by Olukorede S. Yishau

 

Olukorede Yishau’s debut work of fiction—In The Name of Our Father, was a massive revelation. An entertainingly confident saga, it dealt with themes of entrenched hypocrisy, authoritative oppression and brave journalism. The novel garnered largely positive criticism, and titillated readers enough to stoke high expectations for new writing from Yishau.

Now, following his debut novel’s achievements, Yishau returns with a slim collection of 10 powerful and precise short stories which collectively focus on the secrets that define Nigerian lives. All of the stories in Vaults of Secrets brim with the force of Yishau’s signature prose: a balance of measured narration, crisp detailing, sensitive unfolding and wisdom.

Mostly people of a middle-class or lower, the primary characters within these stories breathe and speak and exist, not just as fictional devices, but people we are bound to relate with and understand. All of them are Nigerians, seeking truth, chasing freedom, crying out for love or giving it. We find some of them to be metaphorical Cristiano Ronaldos, as they are fond of “dribbling the truth” according to the narrator of “Till We Meet to Part No More”. In Yishau’s grip, these people execute questionable acts ranging from obfuscations of truth to mortifying atrocities—the type to make your heart skip a beat or two.

True to his signature wisdom, Yishau doles out sparkling insights on human nature through impeccable character descriptions. In “This Special Gift” he pronounces one immoral character as “…the perfect example of what success should not be.”

Vaults of Secrets also reveals Yishau’s notable capacity for tackling difficult subjects within a range of diverse settings. From the miserable confines of a Nigerian prison to Western suburbia, we are made to come to terms with the universality of the human condition: that we all suffer and hurt, regardless of the places we inhabit, or the social statuses we bear. Societal negativities like rape, spousal abuse, sponsored crime, infidelity and failed justice systems remain deeply affecting even across geographical boundaries.

Having crisscrossed the globe, mostly on journalistic duties, Yishau’s keen, bespectacled sense of observation rewards us with accurate studies of global cities and their peculiarities, their naked energy and form. For an example, consider this splendid sentence from “Open Wound”—”Washington, depending on where you were, could be lovely, dangerous or dirty.” There is also Lagos, a place famed for its sophisticated amorality, in which Yishau frames the collection’s most affecting tale—”Otapiapia.” A personal favourite, “Otapiapia” succeeds because it succinctly captures the true spirit of Lagos. Add this to its shattering ending, its ironic treatment of infidelity and promiscuity, and you have a praiseworthy story that best proves its writer¼s storytelling prowess.

Interestingly, the most predominant and recurring word in all 116 pages of the anthology is not “secrets” but rather the word “know” and its varied forms. This should not be too surprising. After all, the gravitas in Yishau’s collection lies in the search for knowledge and truth, be it for closure, redemption or the satisfaction of mere curiosity. This zeal for knowledge of truth is echoed over and over again by the characters, even more than the instances in which the death of truth becomes a clear objective.

Still, the truth can sometimes be a double-edged sword, breaking chains while also creating new wounds, graver problems. In the stories “My Mother’s Father Is My Father” and “Lydia’s World”, the narrator is burdened with a tormenting truth in the former, while the titular protagonist of the latter gradually unravels a disturbing mystery to a grand cost of seismic proportions. The truth, in this case, basically upends her known world, proving that it is more than just a bitter pill to swallow. Sometimes, it can be pure poison.

Yishau’s writing understandably contains sprinklings of social and political comment; after all, he is a writer who clearly prioritises his role as a mouthpiece for grievous Nigerians and their tragic experiences.

However, in Vaults of Secrets, Yishau’s noble insistence to make a statement within all the stories does not quite hit the mark sometimes. If Yishau succeeded with the remarkable “Otapiapia”, he did not quite nail it with the beautifully titled “When Truth Dies.” In the latter, the story’s interesting premise of true identity is weakened by flat socio-political criticism and an abrupt, unsatisfying ending.

However, it is not all gloom and grime within the Vaults of Secrets. Amidst the uneven spread of sordid deeds and dark revelations, there are also positive glimmers of optimism and deserved happiness. In “Letters From the Basement” a disgraced and imprisoned governor finds soulful redemption in acknowledging the importance of family. “This Thing Called Love” also ends positively and warmly with the grace of “second chances.”

There are a lot of things to love about Vaults of Secrets: start with the effectiveness of Yishau’s crisp, unadorned prose, simple but striking; the embedded wisdom of each and every story; the merciful and delightful conciseness of the stories; and the absolute pleasure of relatable characters.

Yishau’s storytelling also embraces inventiveness that excites, a sign of bold mastery. In “Open Wound”, the intriguing life of a character is relayed candidly by an unlikely narrator—her Conscience, literally. If that sounds strange, you would no doubt appreciate the impressive technique of narration employed in another excellent story—”Lydia’s World”.

In “This Special Gift” —the story from which the collection’s title was chosen, an interesting character has the quirky ability of turning up at inopportune moments. Say, like the moment he catches his neighbour committing a disgraceful act. Yishau infuses this particular story with a sharp, satirical tone, prompting situations of pure incredulity and sheer laugh-out-loud moments.

Ultimately, Yishau deftly uses ten sublime stories to show that it is our secrets which actually keep us, and truths easily reveal our true selves better than anything else. Secrets also hurt. Not just self-hurt, but the pain people suffer from not knowing the truth. Imagine a country that kills its citizens and buries them in silent shadows, and you will understand why systems fracture, why individuals interrogate agony because of withheld closure. If one can take a singular, beneficial message from this book, it is that unburdening our hearts of secrets will enable our souls to heal. We would be totally free.

All in all, Vaults of Secrets enlightens us with entertaining insights into the lives of ordinary Nigerians, through powerful themes and deftly sensitive storytelling of a precise and brilliant clarity. For the second time, Olukorede Yishau has successfully asserted himself as a masterful and fascinating voice. Here is a writer who should enjoy the benefits of wider readership, the rewarding boost of due recognition. As Vaults of Secrets is a solid recommendation for lovers of good literature, Yishau’s next body of work—Like Someone Skating On Thin Ice, is already worthy of feverish anticipation. Simply put, it is one secret we all cannot wait to uncover from the vault.

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