
Taiwo Michael Oloyede
Ghostroots by Pemi Aguda is a hauntingly intricate filleting of the supernatural as it intertwines with the stark realities of Nigerian life. Across twelve stories, Aguda masterfully blends the mystical with the mundane, creating a narrative landscape that feels simultaneously otherworldly and deeply grounded. The collection pulses with tension—some stories rush forward with electrifying immediacy, while others simmer, their full power only revealing itself at the end.
What makes Ghostroots exceptional is Aguda’s ability to weave supernatural elements into the fabric of everyday Nigerian existence. These are not tales of distant, fantastical realms but of a Lagos where spirits and shadows coexist with bustling markets, domestic quarrels, and societal expectations. The line between the real and the surreal is blurred so convincingly that the reader is compelled to question the boundaries of reality itself. This, paired with the collection’s recurring themes of longing, agency, and the weight of lineage, creates an atmosphere that is as compelling as it is unsettling.
At the heart of many of these stories are women, each grappling with personal and ancestral burdens that are as much a part of them as their flesh. These characters often seek agency in circumstances that deny it, making their struggles both poignant and universal. Aguda does not shy away from portraying women in all their complexity. They are not paragons of virtue or resilience; they are angry, manipulative, grieving, and defiant. They long for freedom, for forgiveness, for clarity—and sometimes, simply for vengeance.
In the opening story, “Manifest,” Aguda introduces us to a woman grappling with a chilling recognition of her mother’s essence in her daughter’s face. Here, reincarnation is not a gift but a curse, a reminder that some ghosts cannot be laid to rest. The story sets the tone for the collection, positioning the supernatural as an intimate force rather than a distant terror. It is a story of wickedness for its own sake, unapologetic and unyielding, contrasting starkly with later tales where actions invite moral reckoning.
This dichotomy between malevolence as an unchangeable force and as a catalyst for justice is explored further in “The Hollow.” In this tale, a house becomes a vengeful entity, eradicating abusive men and protecting the women within its walls. In a society steeped in belief in spiritual retribution, this story resonates deeply, offering a form of supernatural justice that is both brutal and cathartic.
Ghosts in Ghostroots are often not just spirits but the weight of inherited pain and unresolved history. In “Things Boys Do,” three men face the haunting consequences of a childhood tragedy that resurfaces through their newborn sons. This story examines the cyclical nature of guilt and wrongdoing, suggesting that the past is never truly buried—it merely waits to resurface, demanding acknowledgment and reckoning. Here, Aguda turns the lens on male cowardice and responsibility, crafting a narrative that is as much about introspection as it is about eerie confrontation.
Similarly, in “Breastmilk,” Aduke struggles with her mother’s legacy of rebellion and strength, feeling the shame of having compromised those values in her own marriage. This story is not overtly supernatural, but the ghost of her mother’s principles looms large, a specter that shapes Aduke’s sense of self. It is a tale of internal haunting, where the supernatural takes the form of memory and expectation rather than spirits.
Lagos itself emerges as a character in this collection—a city teeming with life and death, with commerce and chaos, and with an undercurrent of the mystical. Aguda’s Lagos is not merely a backdrop; it is a place where belief in juju and spiritual forces is as natural as breathing. This duality gives the stories their resonance, grounding the surreal in a setting that feels palpably real. In “Girlie,” for instance, the bustling market becomes the stage for a chilling encounter, blurring the line between maternal love and malevolent possession.
The mythical Lagos in Ghostroots mirrors other global cities with their own supernatural lore—New Orleans with its voodoo traditions, Tokyo with its yūrei, or Mexico City with its Día de los Muertos. Yet, Lagos stands apart in the collection for its visceral immediacy. Aguda captures not only the city’s vibrant chaos but also its deep-rooted spiritual consciousness, making Lagos a fitting stage for stories that challenge the boundaries of reality.
A recurring motif in Ghostroots is the idea of justice—both human and supernatural. In a culture where traditional justice systems often fail, the stories explore alternative forms of retribution. Whether it is a vengeful house in “The Hollow” or the eerie rebirths in “Manifest,” Aguda questions what justice looks like when delivered by forces beyond human control. Yet, there is also space for forgiveness and redemption, as seen in “The Wonders of the World,” where a young girl’s journey toward understanding her parents’ love becomes a metaphor for reconciliation.
Ghostroots is a prismatic oeuvre showcasing Pemi Aguda’s skill in blending the supernatural with the deeply human. Her characters are haunted not only by ghosts but by the weight of their choices, the scars of their histories, and the expectations of their society. Through vivid storytelling and an evocative portrayal of Lagos, Aguda crafts a collection that lingers in the mind long after the last page is turned. It is a work that speaks to universal themes of loss, longing, and the unshakable presence of the past, set against a backdrop that feels both specific and timeless. In Ghostroots, the ghosts are not just spirits—they are reflections of the lives we lead and the legacies we leave behind.