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Transcription: [00:09:45]
And out of the blue, so to say, one of the characters begins to define women.
Women are three types. Some are like logs, solid and unshakable after you sweated all day lugging into position. Take my word for it [[?]]. Then there are those, who like the stream about us now, are placid and spacious. It takes an usual storm to steer them, and no passion, however strong, can guarantee that. So you just swim every market tide. And then there are those who are pure billows. On them you rise and sink, and like the water lattice, you don't have to do anything. The woman I lost was the very crest of them.
It is kind of difficult to determine all the purposes of Clark's work. Of course he does define people, their roles, in song. But I guess as a result of the Nigerian-Biafran War, and of course Clark is from Nigeria, as well as Shiyanka-because of that war, and its going on at the same time that Clark was developing as a writer, Clark seems to prepare his people for almost everything. Uh, I guess you'd say he defines people, the role they should play in life, he even explains, ah, what these people should be doing. But all of a sudden he says, through his writing, no matter what condition you might be in, it's possible for some ordeal to come along and to alter your life drastically. But Clark is probably, as I said before, second to only Shiyanka in his writing of African-English drama.
The British and many of the other colonizers are very big in taking their culture with them, and the British were just phenomenal in their taking the theater with them to Africa. And because they colonized Western Africa, you find drama flourishing there more than--

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