Descriptive Focus as a Semiotic Marker in Festus Iyayi’s Violence

[a]　Ph.D.，　Department　of　English　and　Literary　Studies，　University　of　Calabar，　Nigeria.

*　Corresponding　author.

Received　16　October　2012；　accepted　19　December　2012

Abstract

Descriptive　Focus　is　a　technique　of　rendering　fiction　whereby　（mock）　reality　is　constructed　vividly　and　graphically　through　the　descriptive　power　of　portrayal.　A　prose　writer　using　this　style　may　zoom　his　lenses　on　certain　episodes　and　characters　to　foreground　areas　of　interest　that　contribute　significantly　to　the　understanding　of　the　theme　of　the　works.　Descriptive　Focus　or　Focalization，　therefore，　not　only　yields　stylistic　meaning，　but　also　provides　a　means　of　deciphering　the　ideational　dimension　of　a　text.　In　the　novel，　Violence，　focalization　on　the　squalour，　destitution　and　pitiable　conditions　of　the　poor　masses　is　so　pictorially　captured　with　typified　visual，　tactile，　gustatory，　olfactory，　auditory　and　kinaesthetic　images　that　we　are　tempted　to　regard　the　work　as　faction.　Contrastively，　Iyayi　portrays　the　upper　class　as　rich　and　comfortable　and　reeling　in　surfeit　while　the　poor　who　provide　this　comfort　wallow　in　want.　This　paper　analyzes　this　text-forming　strategy　and　reaches　the　conclusion　that　the　descriptive　focus　itself　is　a　semiotic　marker　or　a　code　in　developing　the　ideational　content　of　the　novel　and　in　deciphering　same　by　the　audience.　This　evocative　power　of　graphic　description　reinforces　the　themes　in　the　novel.

Key　words：　Descriptive　focus；　Ideation；　Semiotic　marker；　Typification

Godwin　Oko　Ushie，　Eno　Grace　Nta　（2012）.　Descriptive　Focus　as　a　Semiotic　Marker　in　Festus　Iyayi’s　Violence.　Studies　in　Literature　and　Language，　5（3），　-0.　Available　from：　http：///index.php/sll/article/view/j.sll.1923156320120503.2129

DOI：　http：///10.3968/j.sll.1923156320120503.2129

INTRODUCTION

One　of　the　characteristics　of　language　which　a　literary　writer　like　Iyayi　exploits　in　the　creation　of　his　reality　（or　mock　reality）　is　displacement.　This　is　the　ability　of　a　language　to　capture　events　or　states　removed　from　the　audiences　in　time　and　space.　Verisimilitude　is　used　in　this　novel　to　aid　in　the　creation　of　mock　reality.　Verisimilitude　is　achieved　with　the　sense　of　being　in　actual　individual　things，　events，　people　and　places　that　are　described.　Mock　reality　is　also　achieved　by　the　presence　of　circumstantial　detail　in　the　narration　or　in　description　of　symbolic　scenes　and　typical　characters　that　are　stylistically　significant　and　thematically　reinforcing　in　the　fictional　world　of　Iyayi’s　Violence.

In　an　attempt　to　speak　for　the　socio-economically　deprived　and　underprivileged　class　and　deplore　corruption　in　Nigeria

both　of　which　are　the　result　of　the　type　of　the　nation’s　economic　and　political　system

Iyayi　deploys　his　evocative　power　of　pictorial　description　to　give　what　Decker　and　Schwegler　（1995）　calls　“painting　a　word-picture　of　something　concrete，　such　as　a　scene　or　a　person”　（p.　361）.　Such　a　description　may　appeal　to　some　or　all　of　the　visual，　aural，　tactile，　olfactory　and　gustatory　senses.　The　moral　burden，　which　he　has　in　the　exposition　of　the　social　situation，　is　carried　by　slanted　description　of　the　scenes　that　capture　the　deplorable　conditions，　persons　as　products　of　the　socio-economic　system　and　ideologies　of　the　bifurcated　worlds　of　the　deprived　and　underprivileged　classes.　Of　course，　Marxist　literary　criticism　views　the　economic　system　as　the　base　upon　which　social　consciousness，　including　art，　as　the　superstructure　stands.　The　symbols，　metaphors　and　general　imagery，　therefore，　directly　reflect　this　material　reality　in　the　novel’s　（Violence）　fictional　world.　It　is　instructive　to　note　that　Marxist　concept　of　literature　is　a　reflection　of　material　reality；　a　representation　which　reflects　the　class　ideology　and　which　directly　constrains　the　choice　of　metaphors　and　symbols　in　a　text.

Semiotics　studies　signs　and　symbols　of　all　kinds，　what　they　mean　and　how　they　relate　to　the　things　or　ideas　they　refer　to.　Semiotic　markers　in　this　paper，　therefore，　are　features　of　the　text　（the　novel，　Violence）　that　are　distinct　and　that　become　meaning　makers　within　the　novel.　The　position　of　this　paper　is　that　descriptive　focus　itself　makes　prominent　the　thematic　concern　of　the　novel；　hence　it　becomes　a　sign　or　a　code，　among　other　codes，　in　understanding　the　novel.　Note　that　anything　can　be　a　sign　provided　it　is　interpreted　as　signifying　something　else　other　than　itself　（Chandler，　2007，　p.　13）.

The　Universe　of　Discourse　of　the　Novel　（Violence）

This　novel，　（Violence）　captures　the　various　experiences　and　situations　that　inhibit　the　poor，　the　deprived　and　the　down-trodden　typified　by　a　married　couple　（Idemudia　and　Adisa）.　These　experiences　and　situation　work　against　their　realizing　their　dreams　and　aspirations.　They　are　so　poor　that　they　cannot　feed.　And　to　be　able　to　feed，　Idemudia　sells　his　blood.　Without　a　stable　employment　like　many　others，　Idemudia　stands　in　vain　waiting　for　any　person　who　would　hire　him　as　a　casual　labourer.　Impelled　by　pecuniary　want，　he　does　just　anything　to　survive.　He，　like　many　others，　accepts　to　be　hired　out　at　a　laughable　price　or　as　the　last　resort，　even　to　sell　his　blood　at　a　give-away　price.　Even　Adisa　is　impelled　to　sell　her　body　to　raise　money　to　feed　them　when　her　husband　who　ought　to　have　returned　home　upon　recovery　is　held　up　in　the　hospital.

Sharply　contrasting　with　this　is　the　affluence　of　the　bourgeoisie.　This　class　is　typified　by　Obofun　and　Queen　who　amass　wealth　through　bureaucratic　fraud　and　corruption.　They　have　enough　to　eat　and　to　spare.　This　class　is　so　shrewd，　exacting　and　exploitative　that　both　the　government　and　the　poor　masses　are　at　its　mercy.　The　poor　masses　in　their　employ　are　so　ludicrously　remunerated　that　they　cannot　feed　their　families　or　meet　other　needs.　The　government，　also　at　the　receiving　end　of　the　barefaced　graft　of　unscrupulous　contractors，　loses　a　fortune　in　contracts.　It　is　so　insensitive　to　the　dire　needs　of　the　poor

that　of　providing　and　expanding　health　facilities　to　cope　with　the　teeming　cases　of　disease

that　it　joins　in　the　fray　to　build　hotels　instead　providing　the　much　needed　facilities，　indicative　of　the　social　contradictions　and　social　injustice.　The　poor　wonder　why　hotel　building　is　a　priority　of　government　in　the　face　of　acute　shortage　of　hospital　beds　and　wards.　It　is　this　social　reality　that　is　the　universe　of　discourse　in　the　novel，　which　Iyayi　passionately　portrays　with　a　powerful　descriptive　detail.

Semiotic　Analysis

Iyayi　adopts　a　descriptive　focus，　which　fits　Leech’s　and　Short’s　（1981）　definition　as　“a　fictional　technique　whereby　mock　reality　interacts　with　the　ideational　choices　of　meaning　through　which　it　is　portrayed”　（p.　180）.　Here　the　concern　is　the　description　of　an　event　in　concrete　or　abstract　terms，　in　objective　or　subjective　terms.　The　description　pervading　the　entire　novel　focuses　on　the　squalour，　poverty，　want　and　hardship　of　the　masses，　thereby　giving　prominence　to　the　fore-grounded　image　of　the　poor.　Conversely，　the　description　also　focuses　on　the　affluence，　glut，　surfeit，　moral　depravity，　judicial　and　social　injustice　of　the　privileged　class　（Ushie，　2007，　p.　98）.

Iyayi　utilizes　an　evocative　power　of　pictorial　description　of　the　terrible　condition　of　the　poor.　To　a　large　extent，　the　strength　of　his　art　lies　in　capturing　graphically　the　situations　that　reinforce　this　theme.　The　hospital　where　Idemudia　had　been　taken　to　was　filled　with　sick　people　who　unfortunately　were　given　inadequate　attention.　Here，　we　are　presented　with　a　dismal　picture　that　bespeaks　neglect，　anguish　and　suffering　of　the　people：

The　Ogbe　Hospital　was　an　even　bigger　market　of　patients　than　the　University　Hospital.　There　were　haggard　and　distraught　faces　everywhere.　Worry　had　eaten　deep　into　the　faces　of　the　majority　of　them.　Wrinkles　and　cracks　were　in　abundance.　It　was　evident　that　these　were　people　who　had　been　engaged　by　life　in　a　terrible　and　fierce　struggle　and　that　they　had　come　out　of　each　bout　worse　and　still　more　badly　battered.　Children　cried，　women　wept，　everywhere　there　was　an　great　urgency　and　paradoxically　little　activity，　a　hopelessness　that　provoked　the　on-lookers　to　tears　…　These　people　still　struggled　and　aspired　to　keep　their　lean　frames　of　lives　going　（p.　56）.　（Emphasis　ours）.

The　visual　image　of　this　scenario　is　typical　of　other　similar　ones　that　focalize　on　the　condition　of　the　poor.　For　a　hospital　to　be　a　“bigger　market　of　patients”　and　abounding　in　“haggard　and　distraught　faces”　who　have　been　“badly　battered”　evidenced　by　abundance　of　“wrinkles　and　cracks”，　it　is　clear　that　the　masses’　condition　is　pitiable　and　hopeless.　The　attributive　adjectives　“haggard”，　“distraught”，　“badly　battered”　and　“lean”　bespeak　of　the　abject　poverty　of　the　masses　that　are　destitute　of　the　basic　necessities　of　life　in　the　midst　of　plenty.　The　paradox　is　that　in　the　midst　of　so　much　need

need　for　more　and　expanded　hospital，　need　for　urgent　medical　attention　by　the　health　personnel

there　was　“little　activity”　as　intervention.　The　metaphor，　“market　of　patients”，　seen　against　the　background　of　a　capitalist　society，　is　an　apt　one.　There　is　even　a　suggestiveness　of　the　marketability　of　this　condition，　a　profit　making　opportunity　for　unscrupulous　men.　Note　that　metaphors　arise　from　the　paradigm　of　the　user　or　“one’s　set　of　beliefs　about　the　world”　（Clancy，　1989，　p.　24）　and　here　the　author　is　holding　up　to　an　unapologetic　scorn　the　capitalist　society　that　has　impoverished　the　masses.

Ironically，　just　across　the　hospital　fence，　the　world　of　the　rich　side　by　side　the　struggling　masses　is　unaffected.　In　fact，　the　noise　from　their　unending　stream　of　cars　drowns　the　cries　and　moans　from　the　hospital：

On　the　other　side　of　the　fence　was　Sapele　Road.　The　traffic　moved　on　in　it　in　an　endless　confused　stream，　horns　biting　and　barking，　voices　cursing，　tyres　screeching.　These　were　the　Volvos　and　the　Mercedes　Benz　cars　and　the　taxi　and　the　motorcyclists　and　the　truck　pushers　and　confused　argument，　leading　nowhere　（p.　57）.

The　aural　image　of　this　picturesque　scene，　loaded　with　apt　iconic　words　（“biting　and　barking”，　“voices　cursing”，　and　“tyres　screeching”），　produces　a　cacophony　and　presents　a　state　of　confusion　characteristic　of　a　market.　This　is　reflective　of　a　stiff　competition，　of　a　capitalist，　market

driven　economy　where　the　race　is　for　the　swiftest，　the　battle　is　for　the　strongest，　survival　for　the　fittest　and　profiteering　for　the　shrewdest　and　the　most　unscrupulous.　Here，　we　see　a　shift　in　the　focalized　objects　to　show　the　contrast　in　inequality　between　the　world　of　the　privileged　and　that　of　the　underprivileged.　This　scene　that　bespeaks　of　stiff　competition　borders　also　on　the　struggle　by　the　latter　for　survival.　And　struggle　breeds　confusion.

Impelled　by　the　need　to　look　for　food，　many　people　go　out　on　Sunday，　a　worship　day，　to　work.　In　the　end，　children　and　other　beggars　who　throng　the　church　street　and　premises，　return　with　empty　plates：

There　were　many　who　stood　at　the　side　of　the　road　their　hands　out-stretched　or　walking　along　the　road，　their　faces　dry，　their　clothes　rough　and　ugly　and　torn.　They　were　this　mostly，　dry，　like　their　faces.　Their　cheek　bones　stood　out，　their　eyes　were　set　deeply　in　their　faces，　the　hunger　had　eaten　out　the　flesh　and　dried　up　the　fat　…they　thought　only　of　their　stomachs，　of　ants　in　their　brains，　the　red　ants　that　moved　about　their　heads　eating　them　up　slowly　and　gradually　（p.　220）.　（Emphasis　ours）.

Even　the　tactile　image　of　the　dismally　poor　masses　in　the　passage　above　is　distasteful　and　odious　but　piteous：　their　“faces”　are　“dry”；　“clothes　[are]　rough　and　ugly　and　torn”，　and　“their　cheekbones　[stand]　out”.　These　people　are　so　neglected　as　if　they　are　social　misfits　and　the　dregs　of　the　society.　But　the　society　rests　squarely　on　their　shoulders.　Conversely，　the　Commissioner　who　had　come　to　grace　the　occasion　of　silver　jubilee　celebration　of　the　Ogbe　Hospital　in　the　evening　with　his　entourage　cuts　the　picture　of　a　mogul.　He　is　described　as　“a　small　plump　man　in　a　lace　agbada　…　in　a　large　Mercedes　Benz　car”.　He　is　accompanied　by　mostly　a　bevy　of　women　“finely　dressed　in　lace　and　brocade　material　…　heavy，　fat　women　with　oily，　polished　skins，　their　eyes　scarcely　looking　at　the　floor　on　which　they　walked.　They　passed　by，　smelling　every　inch　a　thousand　naira，　the　heavy　black　hand　bag　hanging　loosely　from　their　shoulder”　（p.　159）.　A　combination　of　the　powerful　visual　image，　tactile　image　（alluding　to　the　“polished　skins”）　and　olfactory　image　of　the　commissioner　with　his　entourage　（“smelling　every　inch　a　thousand　naira”），　speaks　of　affluence

a　sharp　contrast　with　the　general　want　and　pervasive　poverty.　And　this　foregrounds　the　thematic　concern　of　the　novel，　thereby　accentuating　the　tensions，　class　conflict　and　violence　which　the　novel　semiotizes.

Even　rain　contributes　its　quota　to　batter　the　under　privileged　and　hence　accentuate　their　plight.　Much　of　it　hampers　their　economic　activities　and　endangers　their　lives.

Outside，　the　flood　built　up　steadily　and　gradually.　Owode　Street，　like　its　father，　Ekenwan　Road，　was　always　over　flooded　anytime　the　rain　fell.　Two　days　before　two　houses　had　collapsed　on　the　street.　A　small　child　had　been　trapped　in　one　of　the　buildings　under　the　fallen　walls.　Fortunately，　rescuers　including　Idemudia，　had　dug　the　child　out　in　time.　For　people　who　lived　in　mud　houses　on　Owode　Street，　there　was　now　another　preoccupation，　which　house　would　be　next　to　fall　（p.　2）.

Here，　we　see　a　dismal　picture　that　inheres　with　the　piteous　condition　of　the　poor：　the　dwellings　of　the　masses　are　described　as　“mud　houses”，　which　“collapse”　and　“trap”　people　when　there　is　a　rainfall　that　always　causes　flood.

Another　instance　of　the　provocative　display　of　extravagance　on　which　the　writer　focalizes　is　the　hotel.　Obofun’s　hotel　symbolically　christened　“Samson　and　Delilah”　flaunts　affluence.　Poor　Adisa　who　is　lured　into　Obofun’s　hotel　room　is　“overwhelmed　by　the　flagrant　display　of　wealth　exhibited　here…”.　She　cannot　understand　why　a　“man　could　live　so　well　while　others　like　her　starved　to　death”　（p.　168）.　And　this　is　what　provokes　angst　and　intellectual　Marxist　thought.　And　lechery　seems　to　be　concomitant　with　affluence.　This　can　be　gleaned　from　the　two　passages　above.　The　Commissioner　is　accompanied　by　a　bevy　of　women　to　an　official　occasion　in　the　evening.　Obofun’s　obsession　with　secretly　having　Adisa　who　is　miles　apart　from　him　socially　can　only　be　understood　in　this　context.　Even　Adisa　does　not　understand　why　Obofun　is　bent　on　having　her.　The　name　“Samson　and　Delilah”　at　the　prime　order　level　of　meaning　means　both　“flirtatious”　and　a　“devotee”，　the　latter　“suggesting　religious　prostitution”　（Amerding，　1997，　p.　333）.　At　the　primitive　order　level　of　meaning，　the　names　“Samson”　and　“Delilah”　conjure　up　the　allusion　to　the　biblical　story　of　the　love　affair　between　Samson　（a　super　powerful　Israelite　Nazarite）　and　Delilah　（a　Philistine　woman）.　Israel　and　Palestine　were　arch　enemies　and　Samson　was　a　judge，　a　deliverer　sent　to　deliver　Israel　from　the　oppression　of　former　（Judges，　pp.　14-16）.　But　Samson　became　a　lecherous　man　flirting　with　Philistine　women　who　became　instrumental　to　his　destruction.　And　so　the　hotel’s　name　“Sampson　and　Delilah”　suggests　a　place　of　lechery，　which　is　capable　of　destroying　Adisa’s　home.　And　this　is　where　Obofun　has　lured　Adisa　to　in　order　to　have　a　fling　with　her　in　the　guise　of　helping　her.

The　physical　image，　not　to　talk　of　the　image　of　the　essence　and　worth　of　Idemudia　created　by　the　writer，　is　symbolic.　He　is　pictured　as　one　with　a　gigantic　personality.　Even　his　physique　is　captured　in　a　trope　that　gives　us　a　penetrating　perception　of　the　heroic　qualities　of　Idemudia　thus：　“He　was　like　a　big　tree　which　a　gigantic　storm　had　toyed　with.　The　trunk　and　branches　remained　but　the　leaves　were　gone.　The　storm　had　carried　them　away…　[leaving　him]　so　weak　and　fragile…”　（p.　45）.

Despite　the　fact　that　he　is　hungry　and　weak，　he　is　able　to　single-handedly　help　rescue　Queen’s　and　Obofun’s　car　from　the　ditch　in　the　rain.　This　endears　him　to　Queen　who　requests　him　to　organize　his　colleagues　to　off-load　three　trailer-loads　of　cement.　And　this　they　do　defying　the　rain，　almost　the　whole　day.　This　capacity　to　work　impressively　is　reinforced　by　his　leadership　mien，　ability　and　intelligence.　Clerides，　Queen’s　construction　engineer，　confirms　that　Idemudia　is　a　hard　and　clever　worker，　an　organizer.　He　cuts　the　image　of　a　very　strong-willed　union　leader　who　is　able　to　resist　the　several　temptations　of　seduction　and　bribery　Queen　deployed　and　dangled　as　baits　to　him.　This　larger　?　than　?　life　image　is　typical　of　not　just　a　union　leader，　but　also　of　Marxist　revolutionary　character　who　should　rouse　others　to　action　to　better　their　lot.　He　persists　in　his　demands　for　better　treatment　for　the　workers　rather　than　succumb　to　personal　gratifications.　And　when　Queen　fails　in　her　bid　to　douse　the　revolutionary　fire　in　the　union　leader　and　uses　intimidation　to　cow　him，　he　withstands　all　the　antics，　even　the　loss　of　his　job.　Idemudia，　is　in　deed　a　“big　tree　which　a　gigantic　storm　had　toyed　with”　（p.　45）.

An　authorial　comment，　which　is　presented　and　intended　to　be　understood　as　focalizing　the　perspective　of　Idemudia　is　loaded　with　a　pragmatic　meaning.　It　is　crucial　to　the　ideational　meaning　of　the　novel　and　significant　in　the　narrative　syntagm.　It　poignantly　reads：

A S P C

“Always　│the　ordinary　people　│　did　│　the　entertaining

A S P C

│While│　the　very　important　people│　did│　the　receiving.

A S

│　Always│　the　gratitude　and　the　acknowledgement

P C A

│　went　to│　the　reception│.│　Always”　│　（p.　159）.

The　clause　structure　is　ASPC，　ASPC，　ASPC，　A.

This　plaintive　complaint　is　positioned　strategically　just　before　the　Commissioner　for　Health　with　his　entourage　who　has　come　to　grace　the　occasion　of　the　twenty-fifth　anniversary　of　Ogbe　Hospital　is　entertained.

Although　the　narrative　tense　used　in　Violence　（past　tense）　does　not　suggest　an　eternal　truth　pervading　the　capitalist　Nigerian　society　the　parallel　structure　and　the　lexical　choice　of　“always”　suggest　it：　ASPC，　ASPC，　ASPC，　A.　This　goes　to　show　how　unfairly　this　class　has　always　treated　the　poor　in　their　midst.　And　this　is　the　reason　why　the　author　is　speaking　for　them　and　provoking　some　intellectual　discourse　to　rouse　people　into　action，　hence　the　title，　Violence.

CONCLUSION

A　coalescence　of　pictorial　language　（literary　semiotics）　and　the　semiotics　of　symbolic　characterization　corresponding　to　physical　descriptive　focus　and　abstract　description，　respectively，　effectively　construct　the　mock　reality　in　the　novel.　The　so-called　mock　reality　here　is　the　socialist　realism　that　decries　the　evils　of　capitalism　unleashed　on　the　people　and　raises　the　consciousness　of　the　deprived.　The　audience　is　made　to　appreciate　the　predicament　of　the　underprivileged，　courtesy　of　the　evocative　power　of　pictorial　language　of　Iyayi.　The　beauty　of　this　craft　is　the　fact　that　the　cognition　and　construction　of　this　realism　from　the　perspective　of　a　character　like　Idemudia　is　one　that　engenders　a　mass　action　on　the　other　characters，　on　the　one　hand，　and　provokes　socialist　intellectual　discourse，　on　the　other.　Idemudia　who　starts　out　as　a　na?ve　character，　hardly　ever　knowing　the　cause　of　his　predicament，　not　only　discovers　himself，　but　organizes　and　leads　others　by　the　end　of　the　novel　to　press　for　better　working　conditions　for　the　workers.

REFERENCES

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