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By Damiete Braide
Dr Usman Akanbi, President of the Association of Nigerian Authors (ANA), has used his latest dramatic work, Heritage of Loss, to examine the consequences of greed, family conflict and the neglect of moral values in the struggle over inheritance.
The themes of the book formed the focus of a virtual book chat held last Saturday, where literary scholars, writers and lovers of literature discussed its treatment of family relationships, the meaning of legacy and the importance of The event, organised to celebrate the release of the work, provided an opportunity for participants to engage with the ideas explored in the play and consider their relevance to contemporary Nigerian society. Through readings, reviews and reflections, the discussion highlighted how the pursuit of material possessions can threaten family unity and destroy values that are more enduring than physical wealth.
Among those who read excerpts from the book were Dr Olatunbosun Taofeek, Esther Adelana, Olaoluwa Ayorinde and Deborah Omoregba. Their readings introduced participants to the work’s dramatic concerns, while the subsequent discussions examined its literary qualities and social implications.
Professor Obari Gamba, who moderated the session, described the birth of a book, particularly a play, as a significant achievement. He expressed excitement that Akanbi, as president of the Association of Nigerian Authors, had produced another literary work, adding to the body of writing available for readers and literary enthusiasts.
One of the central issues raised during the discussion was the distinction between material inheritance and moral legacy. While inheritance is commonly associated with landed property, houses, money and other possessions left behind by deceased relatives, the speakers argued that a person’s character, values and reputation could constitute a more meaningful heritage.
David Mobe, who reviewed the book, described Heritage of Loss as a compelling dramatic work that goes beyond the familiar subject of family inheritance to examine fundamental questions about human character, greed, loyalty and moral responsibility.
According to him, the play presents a struggle that is not merely about who receives a deceased person’s property but also about the choices individuals make when their conscience and financial interests come into conflict.
Mobe’s assessment drew attention to the moral questions surrounding the characters’ actions, particularly the tension between preserving integrity and pursuing material gain. He observed that the work challenged readers to consider the true value of a legacy when the principles upon which it was established are sacrificed for financial benefits.
He also highlighted the contrast between the personalities in the play, noting that their different attitudes and interests contribute to the dramatic conflict while revealing various aspects of human behaviour.
Beyond its central theme, Mobe commended the author’s use of Yoruba proverbs, traditional expressions and cultural values. He said these elements strengthened the cultural identity of the play, giving it an authentic atmosphere while connecting its dramatic concerns to familiar African experiences.
The use of indigenous expressions and cultural references, he suggested, also enriched the literary character of the work. Its emotionally charged confrontations, symbolic settings and potential for expressive stage performances further enhanced its dramatic appeal.
For Mobe, the significance of Heritage of Loss extends beyond its literary qualities. The play speaks to a contemporary world in which material possessions are sometimes valued more highly than moral conduct. Its message, he said, is a reminder that prosperity and the accumulation of wealth do not necessarily guarantee fulfilment.
He noted that while material possessions could be lost, destroyed or divided among relatives, an honourable name and a life built on integrity could remain a lasting source of strength.
Professor Isiaka Aliagan also congratulated Akanbi on the release of the play, describing it as an important contribution to understanding family politics in Nigeria.
He said the book had universal appeal because disputes over inheritance were not peculiar to Nigeria but occurred in different societies. Although its immediate setting and concerns were rooted in family relationships, the issues it raised could be understood across cultural and geographical boundaries.
Aliagan observed that Heritage of Loss juxtaposed material wealth with moral inheritance, encouraging readers to look beyond physical property and consider the character and values that a person leaves behind.
He raised questions about what happens when relatives become more concerned about acquiring the property of a deceased family member than preserving the person’s good name. In his view, this tension reflected a familiar problem in contemporary society, where the distribution of money, land, houses and commercial assets could become a source of bitterness and division.
He explained that the struggle over property often comes with competing claims about progress, entitlement and the preservation of a family’s interests. Yet, in the process, the values that should unite the family may be neglected.
Aliagan said the central philosophical premise of the play was that true heritage transcended material assets. Good character, moral integrity and sound values constituted a form of inheritance that could not easily be taken away from the person who received it.
He commended the playwright for addressing these concerns in a manner that made the work relevant beyond its immediate setting. According to him, the play offered readers an opportunity to reflect on their families, communities and society, while encouraging them to reconsider what they hoped to leave behind for future generations.
Yemi Kasali, another contributor to the discussion, congratulated Akanbi on the work, noting that the play contained essential dramatic elements, including characters and themes, while serving as a wake-up call about the responsibilities that accompany inheritance.
Kasali described legacy as what a person leaves behind and what continues to influence others after the person’s departure. He said the important question was not simply whether an inheritance existed, but whether those receiving it possessed the capacity and character to preserve and build upon it.
Referring to the character Layiwola, he observed that the play presented him as someone distinguished by his capacity and integrity. The character’s experience, he argued, demonstrated that receiving an inheritance did not automatically guarantee success.
Kasali explained that if Layiwola had depended entirely on the material inheritance, he might have been overwhelmed by the pressure and crisis surrounding its distribution. Instead, his character and capacity enabled him to build upon the legacy left by his father.
He extended this argument to Nigeria, saying the country had inherited a legacy from previous generations, but the failure of those entrusted with preserving it could lead to disastrous consequences.
For him, the purpose of leaving a legacy should be to ensure that the good works of one generation continue to benefit others. An inheritance should therefore come with a sense of responsibility rather than merely serve as an opportunity for personal gain.
Kasali also drew attention to the influence of external factors in family disputes. He noted that individuals and circumstances outside a family could deepen divisions and undermine the intentions of the person who originally left the inheritance.
He stressed the importance of establishing clear boundaries and making proper arrangements before transferring property or other assets to the next generation. Such preparations, including the documentation of a will and the appointment of an executor or trustee where appropriate, could help reduce uncertainty and prevent avoidable disputes.
According to him, the play illustrated how the absence or disregard of clear arrangements could contribute to conflict. He warned that a society that failed to build on the positive legacies of its predecessors risked undermining its own future.
Responding to the issues raised during the event, Akanbi explained that his interest in drama stemmed partly from its ability to address social problems and examine the immediate realities of human life.
He said he had written across different literary genres, including prose, poetry and drama, but found drama particularly useful for presenting the ills of society and confronting questions that demanded attention.
The idea behind Heritage of Loss, he explained, emerged from the tendency to associate heritage almost exclusively with physical inheritance, especially landed property and other material possessions.
Akanbi said he wanted to explore the possibility that people could leave behind something more valuable than physical wealth. A person’s influence, character, principles and contribution to the lives of others could constitute a legacy that remained meaningful long after death.
He warned that inheritance, which should ideally provide continuity and strengthen family bonds, could instead become a source of conflict, bitterness and broken relationships when handled without care.
Rather than merely lamenting these problems, he said he had chosen to address them through his writing. For him, literature offered an avenue to confront social shortcomings and encourage reflection on how individuals and communities could respond to them.
Akanbi also linked his approach to leadership, saying he believed writers should be recognised through their work and that his position as ANA president should not be defined by political considerations. He said he hoped to lead by example and encourage other members of the association to make meaningful contributions through their writing.
He further urged Nigerians to think carefully about the legacies they inherited from their parents and society, as well as the values they would pass on to future generations.
Drawing attention to philanthropic traditions in other parts of the world, he observed that some wealthy individuals directed substantial portions of their resources towards charitable causes, supporting education, science, literature and other fields. He lamented that in Nigeria, wealth that could support such initiatives was sometimes left entirely to children who subsequently became embroiled in disputes over its distribution.
He argued that greater support for literary and educational development could help strengthen society and reduce dependence on grants and assistance from outside the country.
Akanbi said the distinction between what could be shared and what could be lost was central to the play. Land, houses and other physical possessions could be divided among relatives, but the destruction of childhood memories, mutual respect, communal affection and the sanctity of family relationships could leave wounds that were much harder to repair.
He illustrated how family disputes could deteriorate to the point where relatives feared visiting their family homes or resorted to threats, violence and the use of security agencies against one another. Such developments, he said, represented a deeper loss than the physical assets over which the parties were fighting.
He also criticised situations in which community elders or other influential individuals failed to uphold the truth because of favours or personal interests. When those expected to mediate disputes abandon their responsibilities, he argued, the damage extends beyond the immediate family and weakens the wider community.
For Akanbi, the destruction of emotional and communal bonds was the greatest loss that could emerge from an inheritance dispute. Material wealth might remain in someone’s possession, but the values that gave the family or community its cohesion could disappear.
He expressed hope that the play would encourage families to settle disputes through dialogue rather than acrimony. If the work could persuade even one family to resolve an inheritance disagreement peacefully, he said, it would have achieved an important purpose.
The author also urged people to prepare their wills and document their wishes before disputes arose. He cautioned against postponing such decisions until a later stage of life, noting that uncertainty could create room for conflict and competing claims.
He said the most valuable inheritance people could leave behind was not necessarily property but peace.
Akanbi also used the occasion to remind writers to protect their copyright and establish proper arrangements for their work. He encouraged authors to maintain appropriate relationships with publishers and take steps to ensure that their intellectual property was protected.
Dr Olatunbosun Taofeek, chairman of the Lagos chapter of ANA, also commented on the book, describing it as an exploration of the complexities of heritage and the contradictions surrounding inheritance.
In his remarks, Taofeek characterised the work as a thought-provoking examination of the assumption that accumulating wealth for one’s children and future generations should be the ultimate goal of life. He commended the author for drawing attention to the responsibilities that accompany the transfer of wealth and values from one generation to another.
Taofeek also thanked the readers and other participants who attended the virtual event, expressing appreciation for their time and engagement. He said efforts would be made to take the message of Heritage of Loss to other platforms and audiences.
The book chat ultimately presented Heritage of Loss as more than a story about the distribution of a deceased person’s possessions. Through the reflections of the reviewers and the author’s explanation of his motivation, the discussion highlighted the difference between inheriting wealth and preserving the principles that give wealth and family relationships meaning.
The work’s central concern is the possibility that people may secure material possessions while losing the values that should bind them together. In this sense, the struggle over inheritance becomes a broader examination of character, responsibility and the choices individuals make when personal interests compete with family welfare.
By bringing these issues into a dramatic setting, Akanbi invites readers to reconsider the meaning of legacy. The question is not simply what a person leaves behind, but what remains of that person’s values in the lives of those who follow.
The discussions surrounding the book reinforced the idea that a lasting heritage requires more than the accumulation of assets. It demands integrity, thoughtful preparation, respect for others and a willingness to preserve the relationships that make a family and community meaningful.
Ultimately, Heritage of Loss offers a reminder that material possessions may change hands, but the consequences of greed and the benefits of integrity can endure across generations. Its message challenges individuals to look beyond what they hope to acquire and consider what they want to be remembered for.
For families facing inheritance decisions, the play’s concerns point towards the importance of clear documentation, responsible planning and peaceful dialogue. For society, they raise broader questions about the values passed from one generation to another and the responsibilities of those entrusted with preserving them.
As the virtual book chat demonstrated, the significance of Akanbi’s work lies in its invitation to reflect on the kind of legacy that truly matters. A family may divide its property, but when the pursuit of wealth destroys trust, affection and mutual respect, the cost can be far greater than the value of the assets involved.
In the final analysis, the heritage worth preserving is one that combines material responsibility with moral integrity. It is a legacy measured not only by what is owned, but also by the character, peace and goodwill that survive after the owner is gone
