Sozaboy is apparently an uncommon example of a novel written in a subvariety of English that is beyond the limits of regular acceptability and intelligibility—local, national, or international. The author has demonstrated a unique ability: consider his management of what, at first, sounds like utterances from a demented mind. Then imagine his control of general communicative lawlessness and commotion and his eventual arrival at what can pass for an innovative communicative patterning. Reflect on the part he plays consistently mangling the language and then channeling the pieces into an irresistible variegation! Or, let us consider the author's suggestively unusual acquaintance with low level communication in English and the frivolous behavior exhibited by the characters he recreates. There are not many authors who, confronted with this kind of task, could have done better than Ken Saro-Wiwa has done in this novel. ¹ Being a Nigerian and, more importantly, one highly connected with communication matters, Ken Saro-Wiwa was,