In Social Ethics and Governance in Contemporary African Writing: Literature, Philosophy, and Nigerian World, Nimi Wariboko brings a unique approach and understanding of how people in Nigeria might read and think of the relationships of literature, creative writing, entertainment to philosophy and how they relate directly to the daily activities of postcolonial Nigerian experience. This book comes at a time when there is a continuous discussion on possible connections between literature, academic writing and entertainment with the socio-political activities of African countries, but Nigeria in particular because it has numerous gifted writers and entertainers (comedians and singers). Some of the main questions that guide Wariboko's book are, ‘What is the relationship between literature and Philosophy in the Nigerian post colony’ (p. 4); ‘What is the Philosophical Significance of Literature in Nigeria?’ (p. 4). Warikobo bridges this gap by inviting his readers to see an uninterrupted flow, systemisation and connections between literature and the human conditions in Nigeria. He states that ‘the question of the relationship between philosophy and Nigerian literature is central to this book’ (p. 4). Wariboko does this by generally inviting his readers to think widely and critically, drawing on multiple philosophical and ethical themes.
Wariboko draws his arguments on the relationships between the application of philosophical, ethical theories and literature in Nigeria by analysing the literature of four Nigerians writers and one comedian (p. 10–11). He states that he was deliberate in choosing the works of these four Nigerians for many reasons, one of which is he wanted a set of Nigerian writers and a comedian born after the Nigerian nation-state got her independence to show the ability of young Nigerians to reflect on their past, present and to be able to speak to the future of the country (p. 10). Five of the six chapters of his book analyse the works of these five Nigerian writers and comedians (p. 11). Chapter one is titled ‘Theoretical Hesitation: Ibadan Brown Roofs; Rusty Revival’. Chapter two is ‘the black Moon on the White Surface: A Philosophical Analysis of A. Igoni Barret's Blackass’. Chapter three is ‘Bad Governance and Postcoloniality: Literature as Cultural Criticism’. Chapter four is ‘From Executed God to Ozidi Saga: Ethos of Ijo Democratic Republicanism’. Chapter five is ‘Comedy as Dialectics: Laughing Nigeria to Human Flourishing’. Chapter six is ‘Literature and Ethics’. Wariboko's engagement with the works of the four Nigerians he selected unfolds in many dimensions, but especially in these two ways:
First, he emphasises the relationship between philosophy and literature. The first four chapters of this book dwelt on discussions on how Nigerian writers implore philosophical methods in their writings that require their Nigerian readers to think creatively and imaginatively about the message of their writings (p. 4, 33). Most of their works conclude with open-ended presentations of ideas, themes or questions that require deep thinking to connect their writings with historical past, present and the country's future. He implies that most Nigerian writers focus on the internal activities of the country; politics, desires, modernity, identity, poverty, etc., rather than issues outside of the country. However, it is the responsibility of the reader to identify the meaning and application of their writings, images, tropes and semiotics.
Second, Wariboko discusses the intersections of ethics and literature in the book's last two chapters (p. 149, 161). He opines while using the examples of the comedies of Edo Pikin that the comedian uses a three-step dialectical ethical approach to his comedies where the first response to a question, the second response negates the first response and the third response takes his listener to a more illuminating answer to the first question and responds (p. 151). Additionally, Wariboko argues that literature and comedies like those of Nigerian writers and comedians can be used to challenge, correct and speak to the moral consciences of a country like Nigeria (p. 147). He emphasises the significance of literature in the daily lives of citizens of Nigeria and how it can be used to advocate for good governance and a better society.
