The Commonwealth is an intergovernmental organization of 54 nations which were formerly part of the British Empire. The Commonwealth aims to provide a framework of common values, facilitating cooperation between its member states in the field of democracy, human rights, rule of law, free trade and peace. Commonwealth member countries cover six continents: 19 in Africa, eight in Asia, two in the Americas, 12 in the Caribbean, three in Europe and ten in the South Pacific.
Thus, commonwealth literature otherwise known as New English literature is a vague term that refers to the English Language works of former British colonies. It is the fictional body of written responses of such countries brought together by the underlying cultural history and historio-political experiences. It thematic preoccupation discusses issues hovering around gender, racism, struggle for identity, imperialism and the likes. Because it is a literature of an erstwhile subjugated people, there is an attempt to attack the notions of colonialism as a “modernizing” expedition. Commonwealth writers attempt to elevate the status of the colonized by celebrating cultural legends, myths, folklores etc. it documents the cultural, social and political experiences travails of the colonized as a result of colonialism.
The seeming wideness of the scope of this literature has actually contributed to the problems encountered in delineating what commonwealth literature should really be. There is the problem of language; it is believed that commonwealth literature should be realized in the English language because it is the language of the colonial masters. The issue then arises that how should works written originally in indigenous language but later translated into English be categorized? More so, is it the content of a work that makes it commonwealth or the nationality of the author? The dilemma of this is seen in Christie Watson’s Tiny Sunbird Faraway- a novel that is set in Nigeria, and discusses a lot of issues peculiar to the Niger Delta region of the country but is surprisingly written by a white woman. And yet the book is classified as a being part of commonwealth literature. Thus, one wonders if an author is defined by origin, name, content of book, etc.
Some scholars have actually argued that the term “commonwealth literature” is narrow and misleading. Tiffin in her book Commonwealth Literature: Comparison and Judgment, argue that the very notion of Commonwealth Literature is in itself narrow and misleading. Others claim that it is more of an anachronism. Debates have also emanated as the similarities, distinctions and overlapping features of postcolonial literature and commonwealth literature. Hence, Salman Rushdie in work Commonwealth Literature does not Exist posits that this literature is patronizing and also marginalizes a number of writers, adding that it will never be recognized as English literature; which will remain its superior. He refers to commonwealth literature as "a body of writing created in the English language, by persons who are not themselves white Britons, or Irish, or citizens of the United States of America."
What qualifies as commonwealth literature is highly debatable. It has taken on various meanings. Some of the subjects under contention are that of cultural and social erosion. After independence, one main question bothers on what the new cultural identity really is. An instance of this is seen in Doreen Baingana’s Tropical Fish, when Christie becomes caught in a dilemma of identity when she got to America. She becomes confused as to what identity to embrace- is it her original African identity or the strange lifestyle of America. She says: “I am here, but am not. Flying in a plane from Uganda to New York to Los Angeles doesn’t really take you there.” Also there is the question of who really is in power? As the larger power still seem to control the newly independent states. More so, the use of English language poses a problem. It may be asked if the aims of commonwealth literature can be realized neglecting literary works in the original languages of commonwealth nations.
In addition to the problems of language in commonwealth literature, one is faced with the question in what language should the literature of a people be rendered? If using a European language should it be imitative (kept intact) or should it be tailored to the particular adaptation of the community concerned. Achebe points out in his essay The African Writer and the English Language: “So my answer to the question: Can an African ever learn English well enough to be able to use it effectively in creative writing? is certainly yes. If on the other hand you ask: Can he ever learn to use it like a native speaker? I should say I hope not. It is neither necessary nor desirable for him to be able to do so…The African writer should aim to use English in a way that brings out his best without altering the language to the extent that its value as a medium of international exchange will be lost.”
Furthermore, another is whether literary works produced within commonwealth nations but are not written but orally produced are fit to be categorized as commonwealth literature. The response given by scholars is that oral literature even if it is produced within the commonwealth spectrum is not worthy to be referred to as commonwealth literature since it has one primary feature of the literature as an outburst of “writtenness”
In conclusion, commonwealth literature is plagued by series of hitches in categorically delineating its scope. There is a dilemma as to what language is best in rendering the literature. For who is it produced? And also important is the dilemma of identity in commonwealth literature. In submission, commonwealth literature should be not hampered by these perceived snags but there should be an address of these problems with a view to make the literature more encompassing.
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