Subscribe to Newsletter
Monthly Newsletter: Join more than 5,000 African literature enthusiasts!
Subscribe for African literature news, and receive a free copy of our "Guide to African Novels."

“Samarkand and Other Markets I Have Known” is my favorite piece in Soyinka’s most recent book of poems, published in 2004. The poem is dedicated to the Egyptian writer, Naguib Mafouz and begins with two epigraphs. The first one, “The world is a market place” comes from a Yoruba song. And the second, taken from James E. Flecker’s play Hassan, is:  “We take the Golden road to Samarkand.” With the fall of the Berlin wall and the 9/11 attack in mind, Soyinka wants, in this very long poem, to figure out the best way of achieving true cosmopolitanism.  The unifying and egalitarian impulse that initially inspired communism eventually degenerated into a totalitarian dream of world domination. As far as religion goes, Soyinka sees in Islamic fundamentalism that same desire to hold the world to ransom and banish every form of difference . It is against these forms of universalism that Soyinka evokes the market as a place where differences encounter and co-exist.

I find interesting Soyinka’s sense of the market as a transitory space. A place where none feels entirely at home.  The home is a space that is tied to a person’s sense of being. Familiarity, security, intimacy and comfort are the buzzwords of the home front. When the home is in danger, we feel compelled to protect it with our last blood because in protecting the home, we reason that we are ensuring our survival. The home also shares an often well-defined boundary with an outside world of which it is always suspicious.

The space of the traditional market is configured differently. It tends to attracts a rowdy crowd of people who have wandered from faraway homes. The market is not only distant from the home but requires that we are displaced, that we leave our families behind to come to this other space where we can meet others who themselves have had to take leave of their own homes. The market also signifies a movement from the familiar to the strange. And whoever can bear the unfamiliar thrives in the market place.  This is the sense in which “the world is a market place” and not a home. For Soyinka, we ought to think of the world not as a piece of property over which we assert ownership or dominion. The world instead is a market where we all gather to peddle goods or gods or merely to wander.

Samarkand is an ancient city that played a central role in the famous silk trade. Samarkand was a crossroad for the East and West. If the market place is the quintessential figure of cosmopolitanism, Samarkand is, for Soyinka, the market of all markets.  But Soyinka understands that the Samarkand of which he dreams is a utopia. Nonetheless, he is willing, in this beautifully written poem, to find the golden road that leads to it.

The excerpt below is the first of five parts.


A market is kind haven for the wandering soul
Or the merely ruminant. Each stall
Is shrine and temple, magic cave of memorabilia.
Its passages are grottoes that transport us,
Bargain hunters all, from pole to antipodes, annulling
Time, evoking places and lost histories.

A market is where Samarkand invades
Johannesburg, and, as the shutters close,
Departs without regrets or trace
Until its next reincarnation. A market is
Where London’s Portobello spells
Caracas and Yoruba, Catalan or Khourassan,
And though hard currency is what changes hands,
It lets you drift in fluid channels where
Sensations thrive on trade by barter.

Chimes of faith assail the market place–
The muezzin’s prayer alert, a shrine with the warren,
A lean-to church dispenses chants at war
With handbells. White-robed dervishes in trance
At crossroads of Spices Row and Fabric Lane
Swirl, oblivious to slender saffron files
Meandering, equally oblivious to the world.
Fairy-bells in counter points to cosmic ooms–
Hare Krishna’s other dervishes in slight
Ethereal motion through the firewood stalls.
Deep in the maze of Isale-eko, Bhuddist mantras?

The Orisa faithful wait their turn. In season,
Ogun’s iron bells, Sango’s Ayan drums
Oya’s chalk and coral maids reclaim
This borrowed space. Ancestral voice ascendant,
Masks of wood and webbed visors, indigo and camwood
Presences unfold their mats of invocation.

These are the markets I have known,
Tibetan souls on pilgrimage to shrines
In heartlands of Dogon, Baule or Zululand.
Leaflets of salvation for the unwary
Barefoot evangelists of every faith
Tuned to bared moments of the vacant soul.

Let all contend. Let a hundred thousand
Flowers diffuse exotic incense and a million
Stars perfume the sky, till the infant cry of Truth
Resound in the market of the heart,
And warring faiths
Reconcile in one immensity of Being.

Trade and holy places, saints and salesmen
Have ever lived as soul companions, caterers
For the needs of flesh and spirit–bread
And wafer, wine and holy water, homilies,
Talismans and rosaries, the blessed
Pouch of the earth or magic mantras, locks
And lockets of painted mystics
Reliquaries and tourist souvenirs around
A healing spring, a spot of revelation–
The pilgrim trade is evenly sanctified.

Still, here and there, one lashes out– recall
The prince of peace turned manic in a synagogue
Turned market place? Lashed trespassers
With tongue and whip? That lash, in retrospect,
Was kind. I envy the usurers of old
The wages of their sin and mine. Our seasons’
Lesser desecration–a face unveiled,
An ankle bared, a keepsake, a taste or thought
Of foreign taint–feed Grim Reaper Purity
From lethal thrusts, not the symbolic lash.
They pierce the heart, not touch the soul within.

Go to the Orisa and be wise. Ifa
Shuns the excluding tongue, unveils
Uncharted routes to knowledge, truth
and godhead. Man is restless seeker,
What follows six, says Ifa, transcends the bounds
Of seven–there are not final rites to numerology.
Let who can, count the motes in a sunbeam
Or weigh the span of grief from voice to voice
In the homeland of the immolated.
Go to the orisa. None but fools
Claim guardianship of the final gateway.

Tags: , , , , ,

Ainehi Edoro is an Assistant Professor of English at the University of Wisconsin-Madison where she teaches African literature. She received her doctorate at Duke University. She is the founder and editor of Brittle Paper and series editor of Ohio University Press’s Modern African Writer’s imprint.

6 Responses to “The World is not a Home. It is a Market.” Subscribe

  1. Tolu Ogunlesi January 24, 2011 at 11:24 pm #

    I love this poem – there are lines from it that have stayed with me all these years:
    “Who kills for love of god, kills love, kills god; who kills in the name of god, leaves god without a name”

    and the “dante weds fayed…” bit

    This late Soyinka work is I think much more lyrical than his early poetry. There is also a fine poem dedicated to Achebe in the collection, if I remember correctly. And of course, the “Twelve Canticles for the Zealot”, dedicated to Mahfouz.

    The world as marketplace (transit point and melting pot for all; humans and spirits alike, citizen and foreigner, lunatic and layabout) is of course one of the defining strands of Yoruba philosophy. The full line of that proverb/song is “The world is a marketplace, heaven is home” which, curiously, sounds like something straight out of the Bible 🙂

    Thanks Ainehi for ‘bringing’ this poem back. I just paused to order a copy of the collection on Amazon 🙂

  2. Ainehi January 26, 2011 at 4:29 pm #

    Hey Tolu, thanks so much for gracing Brittle Paper with your visit and your comment.

    The idea of the market as a figure of a certain kind of cosmopolitan community is def something that I’ll continue to think about. Will love to lay my hands on the actual song where the Yoruba saying comes from.

    Yeah. This book of poems is also my favorite. I really don’t know why it has not gotten a lot of attention. “Demosthenes” is another favorite poem of mine. Anytime I read it out loud I can’t help chuckling at the thought that the speaker in the poem is a Yoruba man expressing to Demosthenes–half-lamenting half-boasting–his plans for resistance. I also like “Business Lunch” for the beauty of the lines but also for the oddness of the subject. Anyway, have fun reading your copy when it arrives.

  3. Liza Long July 6, 2011 at 7:53 pm #

    Hi there. I am still really new at blog and all aspects around this field. There are lots of terms I still can’t understand. I’m not even sure I will be able to blogging half decent to yours. I am gonna browse the entire blog perhaps I will be able to feel your blogging style a little.

  4. Oludipe Oyin July 30, 2013 at 9:33 am #

    Hello Aineih…Brittle Paper is a remarkable one. 🙂 Had a v.good time around

  5. Emelia A. Yarboro September 27, 2014 at 9:27 am #

    Wow! After all I got a web site from where I know how to genuinely take valuable information concerning my study
    and knowledge.


  1. Soyinka Of My Dreams | Brittle Paper - July 23, 2013

    […] As I stare at this arresting image of the poet, I remember a chant from a poem he published in 2002, “Samarkand and Other Markets I Have Known.” […]

Leave a Reply

Welcome to Brittle Paper, your go-to site for African writing and literary culture. We bring you all the latest news and juicy updates on publications, authors, events, prizes, and lifestyle. Follow us on Twitter and Instagram (@brittlepaper) and sign up for our "I love African Literature" newsletter.

Monthly Newsletter!

Subscribe for African literature news, and receive a free copy of our
"Guide to African Novels."


Namwali Serpell Wins the 2020 Anisfield-Wolf Award for The Old Drift

Untitled design - 2020-03-31T140731.139

Namwali Serpell’s The Old Drift have been awarded the 2020 Anisfield-Wolf Book Award, one of US’ top awards that seek […]

Nnamdi Ehirim’s Debut Novel, Prince of Monkeys, Is a Powerful Portrait of Friendship, Religion, & Politics in ’80s-90s Nigeria

Nnamdi Ehirim by Adedunmola Olanrewaju - graph

The Nigerian novelist Nnamdi Ehirim’s debut, Prince of Monkeys, was published by Counterpoint Press exactly a year ago, on 2 […]

Nadifa Mohamed’s Third Novel, The Fortune Men, Based on the True Story of Mahmood Mattan’s Wrongful Execution in Wales, Set for 2021 Release

Nadifa Mohamed

The publishing press Viking has acquired the Somali writer Nadifa Mohamed’s third novel, The Fortune Men, set in 1950s Cardiff […]

Goretti Kyomuhendo Appointed to Commonwealth Foundation’s Advisory Governorship for Africa Region

Goretti Kyomuhendo - image from Writivism

The Ugandan writer Goretti Kyomuhendo, Director of African Writers Trust (AWT), has been appointed Civil Society Advisory Governor by Commonwealth […]

Bernardine Evaristo’s Latest Short Story, Her 12th Published, Is a Juicy Satire on Gender, Race, & Academia

Bernardine Evaristo - Booker night - graph

She might have eight books published, seven of which are novels, but Bernardine Evaristo is not so much of a […]

University of East Anglia Marks 50th Anniversary of Creative Writing with Project Exploring Interface of Literature and Technology

UEA - Literature@UEA Twitter

PRESS RELEASE University of East Anglia Launches Landmark 50th Anniversary Project – Storytelling in a Digital Age The University of […]

Thanks for signing up!

Never miss out on new posts. Subscribe to a digest, too:

No thanks, I only want the monthly newsletter.