Book Review: Shadows Within

In his debut novel, ‘Shadows Within’, Ali Abare paints a clear picture of a modern Nigerian society derailed by corruption, social injustice, poverty, greed, political thuggery and violence.

Set in the city of Jos, Plateau state, 144-page novel tells the story of three individuals whose lives are intertwined by their actions and interactions as they navigate the various spheres of specialization and influence in society.

Alhaji Garbassa, Chiefs Mandung and Mancha who embody the ruthless ambition, power mongering and moral decadence of the political elite; Hafsat, an independent-minded female forced to live in a gender-insensitive patriarchal society, and Hadi, a young artist and gallery owner, who represents the ideological, youthful hopes of change and belief in a better tomorrow.

While there is a predictability that come with writing reality, the novel’s strength lies in the layered symbolisms of its characters, relationships, events and subjects. Illustrations include Hafsat’s portrayal as a resilient woman in a patriarchal society, which adds a layer of human struggle, gender sensitivity and hope in the midst of chaos; Hadi’s journey – the razing of his gallery, his eventual triumph and rebuilding of the gallery as a metaphor for the creative and positive responses that can emerge in the midst of hardship and hopelessness; Hafsat and Hadi’s relationship that symbolizes the possibility of love and personal growth in spite of moral decay, corruption and violence. Art was further explored as a symbol of creativity, resistance and aesthetics, that can emerge in the face of violence and corruption.

Conversely, much is left to be desired regarding a handful of the non-major characters, especially the non-northern ones, that felt under-developed. For instance, sex workers Kumawese and Doo, who felt a bit too stereotypical. There is the final resolution of the novel’s major conflict where Alhaji Garbassa tenders’ apologies, and rivals embrace to rebuild the country is rather unrealistic considering the deep issues of contentions explored throughout the novel.

Either way, as a vivid portrayal of post-colonial Nigerian politics and society, its multifaceted characters, rich symbolism, verisimilitude description and exploration of urgent contemporary themes makes it interesting. Despite the sad realities depicted, the story ends with a sense of hope, suggesting that Nigeria like Hadi’s Art Gallery can rebuild itself.