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Between Agency and External Pressure: A Review of Jude Dibia’s The Quiet That Remains- Olukorede S Yishau
Jude Dibia, The Quiet That Remains, Masobe 2026, 272pp
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Behind The Scenes is psychological realism and trauma-focused. Instead of planning the mise-en-scence, and regulating characters’ performances to make them convincingly impactful, the directors Funke Akindele and Tunde Olaoye rely on excessive emotions to arouse pity. Their failure in monitoring the incidents resulted in the calamity that befalls Aderonke’s lawyer, Victor (Uzor Arukwe).
Putting a city’s name in the title of a film is indirectly promising the audience that the city is central to the soul of the story. Aba has an incredibly distinct, commercial and bustling identity. The Aba setting of this film, however, is nominal; there is nothing visually tying this film to the city. It could have been set in any city but Aba.
Nollywoodʼs suffering mother, in its earliest and most honest incarnations, had something of the former. In most of its contemporary iterations and certainly in its most commercially successful one, it has become the latter. The mother suffers, the children unite, the audience weeps, the credits roll, the naira accumulates...
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By the time the album closes with “Wild Goose Chase,” exhaustion has set in for Brymo. Tired of his foolish, hopeless search for love, relevance, and the pursuit of happiness, he pleads that the mirage should be taken from him. Sung in Yoruba and Nigerian Pidgin, "Wild Goose Chase” transitions to become “Arodan”, the title and opening track on the Yoruba segment of Shaitan. Serving as a link, the song neatly ties the albums together, indicating that they are one.
While a few of the stories either rely too heavily on melodrama for momentum, or race towards tidy, but highly improbable resolutions, the inherent talent of their authors cannot be denied and these missteps can be chalked up to the eagerness of inexperience, after all, this is the first literary outing for many of them.
The motif of silence runs through the novel, shaping its emotional landscape and deepening its tensions. Characters retreat into silence as a shield against pain. In this novel, silence becomes a language of its own. It speaks in pauses, in averted gazes, in unfinished sentences. Relationships are defined as much by what is withheld as by what is expressed, and the gaps in communication often widen into emotional chasms.
On the surface, the book appears to be Abdullahi's story, but in telling his story, it becomes other people’s stories as well. “Nobody’s story has been as intricately connected with mine in the 20 years that this book covers as Senator Bukola Saraki’s… For most of the journey, I walked under his shadow… Therefore, readers will find that, to a large extent, this book is his story as well,” Abdullahi writes. But in a lot of ways, the book is more Saraki’s story than the memoirist claims.
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