By Chukwuma Ajakah

AH Mohammed’s “I Was a Teen Rock Star” is the incredible story of a grossly misunderstood youngster who strives to realize his dream despite disheartening socio-psychological challenges.

With its setting in present-day Nigeria, I Was a Teen Rock Star relates events in a fictional densely populated Adele Street, Regional High School, Palm Gardens Estate, Macaw Club, Soji Music Studio, Dim Sum Music and other locations that emblematically reflect cosmopolitan Lagos, the rendezvous and lifestyle of the people.

Published in 2021 by Bard and Ink Publishing, the 213-page book consists   seventeen riveting chapters that encapsulate topical issues such as the maltreatment of hapless children by manipulative caregivers. The plot of the novel revolves around Lanre Bandele, an enormously talented, but contemptuously treated teenager with a terribly low self-esteem. Lanre, nicknamed “Zombie”and later “Lanri Guitar”, symbolically represents the destitute in his song, “Street People”.  Through the portrayal of his journey from obscurity to a celebrated music sensation, the book mirrors the enterprising spirit of those gifted, but struggling Nigerian youngsters that occasionally breakthrough to a desired future.

As the plot unfolds, the author unveils the hero as a round character who gets completely transformed after series of failures and insolvency. From being labeled a school dropout, the protagonist breaks the jinx of failure and secures a music recording deal. Moreover, he recovers from the misfortune of losing money and fame and successfully repositions his studies.

Thematically, the author skillfully explores multifarious themes which include social inequality, bullying, economic exploitation, stigmatization, deceit, and hypocrisy. Exploring the theme of inequality, he contrasts the opulent lifestyle and living conditions of the influential rich, like George Dimbo, with the drudgery of the poor on Adele and adjoining streets where large families are confined to single room apartments.

The theme of exploitation is realized through unscrupulous characters that pretentiously help minors for pecuniary gains. Such flagrant exploiters are Aunty Alimat, Malik, and some night club operators.  Alimat presents herself as a devout Christian caregiver, but resells the fanciful cloths Lanre’s mother sends him, constantly reminding him that his mother does not send her enough money for his upkeep and taunts him as “a bad luck child”.

The thematic preoccupation includes child abuse which can be gleaned from this excerpt, describing the treatment of a six-year-old boy: “The first task she gave him shortly after his arrival was to mop the kitchen floor. She had shown him how to do it… ‘You must make this place clean. Cleanliness is next to Godliness.’ Lanre gripped the long handle, which was taller than him. Awkwardly, the top shifted in another direction and toppled the pile of freshly washed plates on the sink. With an almighty crash, the plates shattered into pieces on the floor… She grabbed the handle of the mop and lunged at him, hitting him on every part of his body.”   

Similarly, Malik is depicted as a wolf in a sheep’s clothing. Although Lanre sees him as a benefactor, he helps with ulterior motives. He discovers Lenre’s and Khadija’s potentials, rebrands them as Lanri Guitar and KD, and helps to secure them a recording contract with Dim Sum Music label, but exploits the duo by squandering all their money, “living like a king” and leaving them penniless.

The theme of inevitability of change is realized through the phenomenal transformation of Lanre, following the acceptance of his music by the public and George Dimbo, the CEO of Dim Sum Records. As the once despised nonentity becomes a celebrity, the CEO gleefully acknowledges his new status along with Khadija’s thus: “You are incredibly talented and we are ready to move your careers to the next level…Once you are signed up with Dim Sum, we are responsible for your careers. We are going to house you and spruce you up… We are going to give you a car and personal assistant… We’ll promote you everywhere…We will be responsible for your flights and travels.”  Lanre’s musical exploits subsequently eclipse the ridicules of antagonists like Aunty Alimat, Tope, Mr Agbo, and the Principal at Regional High School.

Fictive characters like Lanre’s mother, Kikelomo, exemplify victims of domestic violence who resign to fate as their marriages collapse. Chief Bandele’s only excuse for sending Kikelomo away is that Lanre  is “a bad luck child” as the following excerpt reveals: “You can go with that bad luck child out of my house! It was when he was born that things started to go wrong for me.” His father had said.  

Besides being ridiculed by family, school mates, and teachers as a “zombie”, the hero grapples with inferiority complex and self doubt,  a disposition  that sometimes encroaches into his stage performances and  makes him shiver as observed in: “Lanre was still shaking, but this time with excitement…Khadija smiled at him as they walked off the stage to join Malik…’You can stop shaking now!’ she said.”

The author deploys diverse narrative techniques in presenting his message. The third person narrative technique is dominant device he uses in narrating the story as a non-participant observer. He creatively combines other techniques such as the omniscient, stream of consciousness, and dramatic monologue in the narration, which is further laced with a remarkable doses of humour, suspense and sarcasm.

A. H. Mohammed, a UK-based medical doctor and ophthalmologist, is also the author of The Last Days at Forcados High School. He essentially writes for young readers. However, I Was a Teen Rock Star is a must-read for all. Besides reading it for pleasure, parents, educators and child rights advocates and others will find the embedded messages useful against anti-social activities such as indulgence of minors in drug peddling, prostitution, bullying, sexual harassment, and get rich quick schemes.