Ghostroots
“Ghostroots” by ‘Pemi Aguda is a debut short story collection set in Lagos, Nigeria, blending the mundane with the supernatural. The twelve stories explore themes of inheritance, maternal lineage, and haunting legacies, often focusing on women grappling with familial and societal burdens. Aguda’s prose weaves unsettling yet deeply human narratives, where everyday life intersects with spectral presences. Notable stories include “Breastmilk,” which delves into generational trauma. The collection has been praised for its elegant voice and was a finalist for the National Book Award for Fiction, marking Aguda as a significant new voice in contemporary literature.
Masquerade Season
by Aguda, ‘PemiPauly, a disobedient but imaginative boy, routinely ignores his mother’s warnings to stick to major roads on his way home from his cousins’ house. Preferring quieter, scenic routes, he often takes a shortcut through the Alele Estate, where the guards recognize him. One day, after staying late playing with his cousins, Pauly encounters three mysterious masquerades blocking his path in the bush. Despite their eerie presence and out-of-season appearance, Pauly politely addresses them, intrigued by their vivid and elaborate designs—one towering with raffia threads, another draped in red aso-oke with a silver mask, and the third adorned with colorful feathers and intricate embroidery.
When the masquerades begin following him, Pauly questions their motives, to which the feathered one responds, “Because we are your masquerades.” Delighted by the idea of owning something so extraordinary, Pauly decides to bring them home, imagining his mother’s pride and his cousins’ envy. The journey back is effortless, with the masquerades moving gracefully and even earning nods of approval from the Alele guards. Pauly, though aware of his mother’s rule against bringing strangers home, believes these masquerades are an exception—too special to leave behind.
At home, the masquerades stand brightly in the dim living room, their presence overwhelming yet fascinating. Pauly struggles to understand how to interact with them, pondering whether to ask about their origins or offer them food. Eventually, he offers biscuit and water, but the red aso-oke masquerade requests palm oil instead, its voice smooth and insistent. The scene is interrupted by Pauly’s mother’s arrival, leaving her reaction to the unexpected guests unresolved.
The chapter blends everyday life with the supernatural, exploring themes of curiosity, disobedience, and the allure of the extraordinary. Pauly’s defiance of his mother’s rules is tempered by his politeness and wonder, while the masquerades’ enigmatic nature adds a layer of mystery. The vivid descriptions of the masquerades contrast with the mundane setting, creating a sense of magic in the ordinary. The unresolved ending leaves readers anticipating the mother’s response and the masquerades’ true intentions.
FAQs
1. How does Pauly typically disobey his mother’s instructions when returning home, and what does this reveal about his character?
Answer:
Pauly consistently disobeys his mother’s instruction to take major roads home, preferring quieter scenic routes or a risky shortcut through the bush. This reveals his independent nature and preference for tranquility over chaotic urban environments. His disobedience isn’t reckless—he demonstrates familiarity with alternative paths (“scurries across the gutter bridge,” “hops over the abandoned rusty back gate”) and earns the trust of security guards. This suggests calculated rebellion rather than defiance, highlighting his resourcefulness and connection to his surroundings despite his mother’s abstract warnings.2. Analyze the significance of the masquerades’ physical descriptions. How do their distinct appearances contribute to the story’s atmosphere?
Answer:
Each masquerade’s elaborate design creates an uncanny juxtaposition between cultural tradition and supernatural presence. The tallest’s faceless raffia threads evoke organic mystery, the aso-oke-clad one blends opulence (“twinkling beads”) with menace (“tribal marks”), while the feathered one’s chaotic vibrancy (“explosion of colorful feathers”) mirrors Pauly’s overwhelmed awe. Their immaculate cleanliness despite the bush passage hints at otherworldliness. These vivid, tactile descriptions—especially the synesthetic voice “whispery, susurrating sound”—heighten tension by making the fantastical intrusions feel physically real in Pauly’s mundane world.3. Why might the masquerades request palm oil, and how does this detail connect to broader cultural themes?
Answer:
The red aso-oke masquerade’s specific demand for palm oil (rather than Pauly’s offered biscuit) roots the supernatural encounter in Yoruba traditions, where palm oil is ritually significant—used in offerings to spirits and masquerades. This detail transforms the creatures from passive curiosities to entities with cultural agency, implying they operate by ancient rules Pauly doesn’t understand. The interaction shifts from childish hospitality (“Can I offer you biscuit and water?”) to a ritual transaction, foreshadowing potential obligations or dangers in accepting “gifts” from the spirit world.4. Compare Pauly’s two acts of disobedience in the chapter. How do their contexts and consequences differ?
Answer:
His route disobedience is habitual and self-serving—a personal preference for tranquility and efficiency. In contrast, bringing home the masquerades is a conscious violation of the “no strangers” rule for a higher purpose: claiming ownership of something extraordinary (“never owned anything so special”). While the first rebellion goes unpunished (even facilitated by guards), the second’s consequences are pending his mother’s reaction. This contrast highlights childhood’s moral complexity—minor rebellions build autonomy, but major ones may carry unseen costs, especially when involving supernatural forces.5. How does the chapter use sensory details to transition between reality and the fantastical?
Answer:
The shift begins with tactile realism—Pauly’s “sweaty forehead,” “grass stains,” and the mosque’s concrete setting. As he enters the bush, auditory cues dominate (“rustling,” wind), then visual overload takes over with the masquerades’ dazzling colors and textures. Their voices blend unnatural qualities (“slippery, silkier”) with familiar references (“backup singers at church”). Later, their brightness strains Pauly’s eyes, making the fantastical physically taxing. This sensory escalation mirrors a child’s dawning realization that the impossible is real, while grounding the surreal in bodily experience.
Quotes
1. “He always nods yes, but in this one thing, he is a disobedient son. He’s tried to take the major roads home, but they are so noisy with the grumbling trucks and the plaintive honks from all the cars competing to get ahead.”
This quote introduces Pauly’s rebellious nature and his preference for quieter, scenic routes, setting up his character and the story’s central conflict between obedience and curiosity. It also paints a vivid contrast between urban chaos and the tranquility he seeks.
2. “Pauly is not aware of any masquerade festivals at this time of the year; he takes a small step back, contemplating the out-of-context figures.”
This moment marks the story’s supernatural turning point, where Pauly encounters the mysterious masquerades. The quote highlights the dissonance between reality and the inexplicable, foreshadowing the surreal events to come.
3. “‘Because we are your masquerades.’”
This simple yet profound declaration by the feathered masquerade encapsulates the story’s central mystery. The quote raises questions about ownership, destiny, and the relationship between humans and supernatural beings, while maintaining an air of enigmatic purpose.
4. “In the middle of this bush path, a shortcut to Pauly’s home, he thinks how he has never owned anything so special and vivid and big. His mother will be proud. His cousins will be impressed.”
This quote reveals Pauly’s innocent perspective on the masquerades as prized possessions rather than potential dangers. It shows his childlike excitement while subtly hinting at the coming conflict with his mother’s warnings about strangers.
5. “‘Palm oil,’ the masquerade says from behind its silver mask. […] ‘Only palm oil.’”
This exchange introduces the masquerades’ otherworldly needs, contrasting with Pauly’s mundane offer of biscuit and water. The quote suggests the cultural and spiritual significance of the masquerades while creating tension as Pauly’s mother arrives.
Quotes
1. “He always nods yes, but in this one thing, he is a disobedient son. He’s tried to take the major roads home, but they are so noisy with the grumbling trucks and the plaintive honks from all the cars competing to get ahead.”
This quote introduces Pauly’s rebellious nature and his preference for quieter, scenic routes, setting up his character and the story’s central conflict between obedience and curiosity. It also paints a vivid contrast between urban chaos and the tranquility he seeks.
2. “Pauly is not aware of any masquerade festivals at this time of the year; he takes a small step back, contemplating the out-of-context figures.”
This moment marks the story’s supernatural turning point, where Pauly encounters the mysterious masquerades. The quote highlights the dissonance between reality and the inexplicable, foreshadowing the surreal events to come.
3. “‘Because we are your masquerades.’”
This simple yet profound declaration by the feathered masquerade encapsulates the story’s central mystery. The quote raises questions about ownership, destiny, and the relationship between humans and supernatural beings, while maintaining an air of enigmatic purpose.
4. “In the middle of this bush path, a shortcut to Pauly’s home, he thinks how he has never owned anything so special and vivid and big. His mother will be proud. His cousins will be impressed.”
This quote reveals Pauly’s innocent perspective on the masquerades as prized possessions rather than potential dangers. It shows his childlike excitement while subtly hinting at the coming conflict with his mother’s warnings about strangers.
5. “‘Palm oil,’ the masquerade says from behind its silver mask. […] ‘Only palm oil.’”
This exchange introduces the masquerades’ otherworldly needs, contrasting with Pauly’s mundane offer of biscuit and water. The quote suggests the cultural and spiritual significance of the masquerades while creating tension as Pauly’s mother arrives.
— Unknown
FAQs
1. How does Pauly typically disobey his mother’s instructions when returning home, and what does this reveal about his character?
Answer:
Pauly consistently disobeys his mother’s instruction to take major roads home, preferring quieter scenic routes or a risky shortcut through the bush. This reveals his independent nature and preference for tranquility over chaotic urban environments. His disobedience isn’t reckless—he demonstrates familiarity with alternative paths (“scurries across the gutter bridge,” “hops over the abandoned rusty back gate”) and earns the trust of security guards. This suggests calculated rebellion rather than defiance, highlighting his resourcefulness and connection to his surroundings despite his mother’s abstract warnings.
2. Analyze the significance of the masquerades’ physical descriptions. How do their distinct appearances contribute to the story’s atmosphere?
Answer:
Each masquerade’s elaborate design creates an uncanny juxtaposition between cultural tradition and supernatural presence. The tallest’s faceless raffia threads evoke organic mystery, the aso-oke-clad one blends opulence (“twinkling beads”) with menace (“tribal marks”), while the feathered one’s chaotic vibrancy (“explosion of colorful feathers”) mirrors Pauly’s overwhelmed awe. Their immaculate cleanliness despite the bush passage hints at otherworldliness. These vivid, tactile descriptions—especially the synesthetic voice “whispery, susurrating sound”—heighten tension by making the fantastical intrusions feel physically real in Pauly’s mundane world.
3. Why might the masquerades request palm oil, and how does this detail connect to broader cultural themes?
Answer:
The red aso-oke masquerade’s specific demand for palm oil (rather than Pauly’s offered biscuit) roots the supernatural encounter in Yoruba traditions, where palm oil is ritually significant—used in offerings to spirits and masquerades. This detail transforms the creatures from passive curiosities to entities with cultural agency, implying they operate by ancient rules Pauly doesn’t understand. The interaction shifts from childish hospitality (“Can I offer you biscuit and water?”) to a ritual transaction, foreshadowing potential obligations or dangers in accepting “gifts” from the spirit world.
4. Compare Pauly’s two acts of disobedience in the chapter. How do their contexts and consequences differ?
Answer:
His route disobedience is habitual and self-serving—a personal preference for tranquility and efficiency. In contrast, bringing home the masquerades is a conscious violation of the “no strangers” rule for a higher purpose: claiming ownership of something extraordinary (“never owned anything so special”). While the first rebellion goes unpunished (even facilitated by guards), the second’s consequences are pending his mother’s reaction. This contrast highlights childhood’s moral complexity—minor rebellions build autonomy, but major ones may carry unseen costs, especially when involving supernatural forces.
5. How does the chapter use sensory details to transition between reality and the fantastical?
Answer:
The shift begins with tactile realism—Pauly’s “sweaty forehead,” “grass stains,” and the mosque’s concrete setting. As he enters the bush, auditory cues dominate (“rustling,” wind), then visual overload takes over with the masquerades’ dazzling colors and textures. Their voices blend unnatural qualities (“slippery, silkier”) with familiar references (“backup singers at church”). Later, their brightness strains Pauly’s eyes, making the fantastical physically taxing. This sensory escalation mirrors a child’s dawning realization that the impossible is real, while grounding the surreal in bodily experience.
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