By Ejiroghene Barrett
Ousmane Sembène’s God’s Bits of Wood (original title: Les Bouts de Bois de Dieu) is a seminal work in African literature that was first published in 1960. The novel is a powerful portrayal of the 1947-1948 railroad workers’ strike on the Dakar-Niger Railway, which connected Senegal and Mali during the French colonial period.
The novel is deeply rooted in the historical context of French West Africa. The 1947-1948 strike was a significant event in the region’s history, marking a turning point in the struggle for workers’ rights and independence from colonial rule. Sembène, who was himself involved in labour movements, draws on his own experiences and observations to create a vivid and authentic portrayal of the period.
Sembène, who was not only a writer but also a filmmaker and social activist, uses this historical event to explore themes of colonialism, labour rights, gender roles, and collective struggle.
The novel focuses on the lives of the African railway workers and their families as they organise and participate in a prolonged strike against the French colonial administration and the railway company. The strike, which lasts for several months, brings immense hardship to the workers and their communities, but it also becomes a catalyst for unity and resistance.
Sembène’s writing is characterised by its realism and attention to detail. He employs a third-person omniscient narrative that allows him to be immersed in the thoughts and experiences of a wide range of characters. This technique creates a mosaic of perspectives, giving the reader a comprehensive understanding of the strike’s impact on the community. The prose is simple yet evocative, capturing the harsh realities of colonial exploitation and the intensity of the workers’ resistance.
The narrative shifts between multiple characters, including men, women, and children, offering a panoramic view of the strike’s impact on the community.
Among its multiple themes, the novel vividly depicts the oppressive conditions under which the African workers labour. The French colonial administration and the railway company are portrayed as exploitative and indifferent to the workers’ suffering. The strike becomes a symbol of resistance against colonial domination and economic exploitation.
One of the most striking aspects of the novel is its emphasis on collective struggle. The workers, despite their diverse backgrounds and ethnicities, unite to fight for their rights. This unity is reinforced by the involvement of women, who play a crucial role in sustaining the strike and challenging traditional gender roles.
Sembène gives significant attention to the role of women in the strike. As the strike progresses, the women find their voice and, he writes, they “formed into little groups and began patrolling the streets of the neighbourhood, armed with bottles filled with sand . . . they accosted every man who appeared in their path.”
Their actions challenge the prevailing preconceptions about their traditional realm as they take ownership of a public space previously occupied only by men:
The women are no longer afraid to use their now that they have found it. Sembène captures this vividly in these words; “It was the first time she had ever spoken at a meeting of the men, and she was filled with pride. . . . The idea of a woman addressing a meeting as important as this was still unfamiliar and disturbing.”
Initially marginalised, the women gradually take on leadership roles, organising marches and providing moral and material support to the strikers. This shift challenges traditional patriarchal norms and highlights the importance of women’s contributions to social and political movements.
The novel portrays the immense sacrifices made by the workers and their families during the strike. They endure hunger, violence, and the threat of losing their jobs, yet they remain resilient. This resilience is a testament to their determination to achieve justice and dignity.
Sembène also explores the cultural dimensions of the struggle. The workers’ resistance is not just economic but also cultural, as they assert their identity and humanity in the face of colonial dehumanisation. The novel is rich with references to African traditions, languages, and customs, which serve as a source of strength and pride for the characters.
God’s Bits of Wood is a pivotal work in African literature, offering a compelling and nuanced exploration of colonialism, labour rights, and social change. Sembène’s ability to weave together the personal and the political, the individual and the collective, makes the novel a powerful and enduring testament to the resilience and courage of those who fight for justice. It remains a vital read for anyone interested in African history, postcolonial studies, or the dynamics of social movements.
