She took his hand and squeezed it as if there was nothing more to say; yet every nerve in her body ached to tell him she had felt the same, for so long.
‘I have some things for you,’ he said, picking up his parcel and handing it to her.
Inside the parcel was a letter and a book. She began to read the letter.
I am writing to inform you that I have serious intentions with Vanessa…
‘I wrote it a long time ago,’ Tayo said, interrupting her reading. ‘It’s a letter to my uncle and …well, I just wanted you to know that I was serious and that I had wanted to marry you.’
Tears came to her eyes as she read more.
‘And this?’ she asked. ‘My goodness! How did you get this?’ She flipped quickly through the pages of her old diary and saw the places where she had scribbled Oluwakayode, the name she had dreamed of giving their child. ‘My God, my God,’ she mumbled and then, as she struggled to hold back more tears, a middle-aged couple she recognised from the ceremony approached them and asked if they would take a photograph for them.
‘Certainly,’ Tayo offered, standing to take the camera from the strangers who now stood in front of them.
The man held his lady by the waist, sucked in his stomach and smiled as his wife leant her braided head against his chest. Vanessa watched them as they posed and, as she watched, she felt a wave of déjà vu. Her mind raced across time to find the answer. Was it a memory of the way her photographer friend, Seydou Keita asked his subjects to pose? Or was it Salamatou in 1970, with her hair braided like this woman’s? Or perhaps she was seeing an image of her parents before she was born, in a time that she had only imagined? Or sticks-and-sandals, she thought. Mum and Danjuma. Tayo and Vanessa.
‘Now let’s get one of you two,’ the man offered.
‘Okay,’ Tayo agreed, cheerfully handing him his pocket camera. He sat down and moved closer to Vanessa, until their hips touched and she prayed for the tears to stay put.
‘Aw come on, my brother,’ the man urged, lowering the camera. ‘Let’s see a little more loving.’
Vanessa clenched her jaw in an even greater effort to hold back her tears and smile for the photo. Tayo laughed and slid his arm around her shoulders. Instinctively, she turned her head to his and, without thinking — tired of thinking — she kissed him gently on the lips, and then it was fervently, not caring what the other couple thought or said as the tears ran down her cheeks.
Night had fallen and three students that had passed them on their way out to the river now passed them again, still sitting on the bench, hand-in-hand, with her head on his shoulder, staring across the river.
‘They must be mad,’ said one. ‘It’s freezing.’
‘Probably tourists,’ whispered another.
And then the ringing of Christ Church’s bells drowned their voices out. The cows in the meadows paid no attention to these hourly chimes. The moon, however, took notice of the bells and rose from behind its clouds to light up the sky and send silver ripples across the Isis.
In Dependence Book Club Questions
1. Why do you think the novel was entitled In Dependence?
2. How does Tayo’s trajectory in the novel mirror that of his country?
3. Do you think being an outsider allows a person to have unique insights into a culture?
4. How do Tayo’s experiences in Oxford affect his perception of Nigeria when he returns?
5. Christine, Vanessa and Miriam are very different women, yet each of them are drawn to Tayo, and Tayo to them. Do you think there are points of similarity and connection between these women?
6. Travel can open one’s mind, make one less judgemental, or it can do the reverse. Who do you think is the most broadminded character in the novel?
7. How do the views of Vanessa’s colonialist father influence her relationship with Tayo?
8. How are fathers portrayed in the novel? What are the similarities and differences in the ways in which different characters approach fatherhood?
9. If you had to draw up a playlist for this book, what songs would you include?
10. Kwame asserts that ‘Race is a part of the fabric of [America]. To what extent do you agree with this statement and are there other countries that this can apply to?
11. In Dependence spans four decades. How effectively does the novel capture the atmosphere of these different time periods?
12. Ike says, ‘independence came far too early.’ Do you agree, and what do you think led him to this opinion?
13. How do you imagine Vanessa and Tayo’s relationship might develop after the end of the novel?
Transforming a manuscript into the book you are now reading is a team effort. Cassava Republic Press would like to thank everyone who helped in the production of In Dependence:
Editorial Design & Production
Bibi Bakare-Yusuf Michael Salu
Layla Mohamed Okonkwo Stephen
Sales & Marketing Publicity
Kofo Okunola Lynette Lisk
Emma Shercliff Nikki Mander
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By the same author:
Like a Mule Bringing Ice Cream to the Sun
Copyright
This edition first published in 2019 by Cassava Republic Press
First published in Nigeria in 2009 by Cassava Republic Press
First published in the UK in 2008 by Legend Press
Abuja – London
Copyright © Sarah Ladipo Manyika 2008
The moral right of Sarah Ladipo Manyika to be identified as the Author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988.
This is a work of fiction. Names, characters, businesses, places and incidents are either the product of the author’s imagination or are used fictitiously. Any resemblance to actual persons, living or dead, events or locales is entirely coincidental.
A CIP catalogue record for this book is available from the National Library of Nigeria and the British Library.
ISBN (Nigeria) 9789784894333
ISBN (UK) 9781911115779
eISBN 9781911115786
Book design by Okonkwo Stephen
Cover design by Seyi Adegoke
Printed and bound in Great Britain by Bell and Bain Ltd., Glasgow
Distributed in Nigeria by Yellow Danfo
Distributed in the UK by Central Books Ltd.
Distributed in the US by Consortium Books
Stay up to date with the latest books, special offers and exclusive content with our monthly newsletter.
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Hashtag: #InDependence #ReadCassava
In Dependence Page 24