Reviewer: Billan Omar. Doctoral Research Fellow Institute for Humanities in Africa (HUMA),University of Cape Town (UCT) billanomar@gmail.com.
Francis Nyamnjoh’s latest novel, “Yaa Yang,” published in April 2025 by Langaa, is a story that resonates on multiple levels—a narrative of power, grief, and the intricate dynamics of family. It is the story of a girl chosen to rule while they await another, a kingdom lost without their Fon, a family lost without their father, with only memories to cherish and the dream of returning a community to what it once was – what it once represented.
The novel thrusts readers into the heart of the vibrant kingdom of Yang, where tradition and modernity intertwine, and where a young princess named Mtofalo embarks on an extraordinary journey of resilience, courage, and the enduring power of cultural heritage.
When her father, the Fon, suddenly disappears, she is summoned to the royal palace, a place perched like a fortress on the mountaintop, its red clay walls and intricate carvings a testament to the Yang people’s architectural prowess.
There, Mtofalo undergoes a ritual cleansing, shedding her childhood name to become Yaa Yang, the regent of the kingdom, while an appropriate male successor is located and prepared for enthronement.
This unexpected ascension marks a profound transition, forcing Yaa Yang to navigate the treacherous currents of palace intrigue and the delicate balance between tradition and change. The weight of leadership settles upon her young shoulders, a stark contrast to her former life in the peaceful village of Xang, a haven her father had chosen to shield her from the turmoil of the royal court.
The author, a renowned scholar and academic, Nyamnjoh, masterfully weaves his signature themes of incompleteness, mobility, and conviviality into the very fabric of “Yaa Yang”. This becomes evident in the story’s plot, the richly developed characters, and the evocative prose.
In “Yaa Yang,” I discovered not just a tale, but a mirror reflecting the complexities of the human experience. While the narrative’s surface presents a girl’s coming-of-age journey, her struggles against the tyrannical Fon who eventually succeeds her father, her responsibilities towards her siblings, and the looming threat to a crumbling palace, it also resonates with broader themes of revolution and triumph. The reader is invited to connect with Mtofalo’s initial fears and identify with Yaa Yang’s ultimate resilience.
The death of a Fon, a revered ruler who embodies the collective spirit of his people and serves as a living link to the ancestors, shakes the kingdom of Yang to its core. The community is left to pick up the pieces, grappling with questions of succession and the uncertain future.
Yaa Yang’s story becomes a testament to the strength, power, and magic inherent in individuals and their capacity to shape their own destinies.
Nyamnjoh constructs a world of wonder through vivid imagery, symbolic use of colour, and the profound device of prophetic dreams. Yaa Yang’s dreams serve as a window into the self, a means of navigating unfamiliar territories, exploring spirituality, and ultimately, igniting a fire of revolution within a land shrouded in darkness.
The concept of “awung,” a potent force encompassing both good and evil, supernatural abilities, and the constant struggle for balance, is central to the narrative. The parallels between the awung residing within Yaa Yang and the tyrannical Fon raise compelling questions about the nature of power, ambition, and the choices that define a leader.
Through “Yaa Yang,” Nyamnjoh masterfully demonstrates the power of fiction to illuminate the truths of our realities and to envision our collective futures. This is a retelling of history and an imaginative exploration of the fragilities of power and the indomitable human spirit’s capacity to challenge it.
