THE gleaner-glimpser-glitterer ended part five of this discourse thus: “The epilogue will bring the last words.” Wisdomly, he was happy to utter this remark as a salutary reminder to his fascinating readers whose utterly absorbing conversations – verbal, through texts, and oral, through calls – with him should end somehow. This means that he will end the discourse admirably on mango terms with his readers – even if he is still open to reproducing now some of their conversations.

Isaac Megbolugbe, a U.S.-based Professor, and an exuberant essayist whose scholarly landscape is non-literary humanities, was a select reader whose conversation did not grace the column last week. It was a longishily longish conversation in the format of an essay. It brought our subject to life in Professor Isaac Megbolugbe’s peculiar style of delivery – which, however, did not fit the demands of the column. But it contains a stimulating snapshot of Olu Obafemi’s mango vision. I have drastically reduced its length to suit the gleaner-glimpser-glitterer’s purpose – in accordance, it should be reiterated, with the demands of the column:

“Professor Tony Afejuku’s recent insightful analysis of Professor Emeritus Olu Obafemi’s work reveals a profound metaphorical framework – the “mango world” – that underpins Obafemi’s humanistic probe of society. This framework is a testament to Obafemi’s artistic vision and curiosity, which seeks to explore the complexities of human existence.

“Afejuku aptly describes Obafemi’s imagined vision as a “mango vision”, derived from his unique “mango world of art.” This vision is characterised by a deep curiosity about human life, society, and the intricate web of relationships that bind us. The mango, a symbol of abundance, diversity, and richness, serves as a powerful metaphor for Obafemi’s artistic exploration of humanity.

“Obafemi’s works, such as Pestle on the Mortar (1974) and Melodies of Inclement Climes (2023), exemplify his mango art of humanity. These creations are not only aesthetically pleasing but also thought-provoking, addressing pressing issues and concerns that affect individuals and societies. Afejuku praises Obafemi’s ability to craft works that are “morally and virtuously satisfying” and appealing to our sensibilities.

“Key features of Olu Obafemi’s mango world include: (1) curiosity-driven exploration: Obafemi’s work embodies a deep desire to understand human existence and the complexities of society; (2) multidimensional perspective: the mango vision offers a nuanced, layered understanding of humanity, embracing diverse perspectives and experiences.; (3) artistic expression as social commentary: Obafemi’s creations serve as a reflection of societal concerns, encouraging critical thinking and introspection.

“The “mango world of Olu Obafemi” is a testament to the transformative power of art and humanistic inquiry. By exploring the complexities of human existence, Obafemi’s work inspires empathy, understanding, and positive change. As Afejuku rightly notes, Obafemi’s art is a “delightful spectacle” that resonates with our shared humanity.”

Now all the readers mustered here help a great deal to muster the gleaner-glimpsering-glitterer’s arguments concerning Olu Obafemi’s mango world. In years to come they may be read, understood, interpreted and judged as fascinating scholars whose brief views and perspectives constitute what I may call a canon of magnificent minds who joined the gleaner-glimpser-glitterer to inspire serious students, scholars, researchers and thinkers who are interested in Olu Obafemi’s mango oeuvre to interrogate it further from different angles.

Now the gleaner-glimpser-glitterer feels the need to quote Salman Rushdie, British and American novelist of Indian descent: “I once asked a maker of fine gold jewelry why she only worked in such an expensive material and she replied that the point about gold was its malleability: you can do anything with gold, you can twist it and turn it and it will take whatever shape you want it to take.” From the perspective of art this quotation is significant. There is nothing that we cannot do with art.

It is malleable to any reader’s creative, theoretical and critical mind. I will not be wrong to call, for instance, Melodies of Inclement Climes the gold of Olu Obafemi’s creations – or of his vision and artistic world. I, however, refrain from this line of studying our subject’s art. The reason is simple. He writes naturally and sweetly so, and in a manner that nourishes us like mango – like the smooth rind and sweet juicy orange-yellow flesh and yellow-orange flesh of this ovoid fruit.

This is the major reason why what I have called Olu Obafemi’s mango vision or mango world has instilled identical feelings into our select readers’ fecund artistic minds and sensibilities. The gleaner-glimpser-glitterer may have tried to cross-match or to cross-contrast the reactions or feelings of the select readers in different guises.

Personally, I won’t debase Olu Obafemi’s art by further calling it malleable gold. Gold inspires and creates monumental wealth, but it is malleably the harbinger and bringer of unspeakable tribulations, cruelty, horrors and monumental human suffering to our world. Olu Obafemi’s art purifies and ennobles us.

One significant result of the gleaner-glimpser-glitterer’s attempt in this discourse is what Professor Sunny Awhefeada has communicated to me, to wit: “The intervention in five parts can be read as steps towards the literary canonisation of the creative works of Olu Obafemi.” And on the strength of this discourse, Professor Mabel Evwierhoma has requested me to “commence the compilation of the Tony Afejuku Literary Series.”

With respect to last Friday’s “closure” that never was, Professor Owojecho Omoha conversed with me as I hereby quote him: “Serious! This Friday harvest turns rightly mine. The thoughts moved my way, seeing the harvester picking the Mango Word designed by Professor Tony Afejuku. We know the richly angled letter “G3.” The designer has picked his pick, foreseeing another goddot, waiting for the final closure to Olu Obafemi’s Mango World. The world awaits you, TA.”

The last words of this epilogue go to our Professor Emeritus Olu Obafemi, the magnificent subject of the gleaner-glimpser-glitterer: “Thanks, dear Tony the Poet/Polemicist/Scholar/Media and Public intellectual for this sustained critical enterprise, for this flowing lyrical redolence juiced from the Mango metaphor. I value your critical elaboration. Very absorbing, revealing new perspectives on the author even to the author. It has provoked alluring responsiveness from many literary like minds… and non-literary scholars, broadening the socio-aesthetic canvas of your friend. Live on, my age-long friend.”

Our mango dramatist, playwright and poet of magnificent mango mind of nourishing nutrients has said it all. What an epilogue!
Concluded.

Afejuku can be reached via 08055213059.