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Content Warning: This section of the guide features depictions of graphic violence, child death, addiction, animal death, and physical abuse.
The Drinkard and his wife pack their belongings and set out for an unknown place to find his tapster. A few miles into their journey, the wife remembers she left a gold trinket at their former home, which the Drinkard had burned down. Despite his warnings, she insists on going back. As she sifts through the ashes, a half-bodied baby emerges, speaking in a low voice. The couple flees, but the baby commands their eyes to be blinded and their breathing to stop, forcing them to return and take him. The baby rides on the wife’s head, whistling loudly. When they stop for food in a village, the baby swallows their meal and all the food-seller’s stock in a single gulp, causing the villagers to run them out of town. This happens in every village they enter. They are forced to travel through the bush, unable to put down the baby, who grows heavier and never sleeps. One night, hearing music, the baby commands them to go toward it.
They arrive at a clearing and find three living creatures: Drum, Song, and Dance. The half-bodied baby climbs down from the Drinkard’s head and joins them. When the creatures begin to perform, their music is so compelling that the Drinkard, his wife, and others are forced to dance along for five days straight without rest or food. The procession ends at a mud compound, where the three creatures and the baby enter and disappear. Finally free, the couple travels for two days and arrives penniless in a new town. The Drinkard recalls that he is the father of gods who could do anything in this world, so uses his juju to transform himself into a canoe. His wife operates him as a ferry service across a river and, in one month, they earn over £56. With their new wealth, they continue their journey.
After leaving the town, the Drinkard and his wife encounter gangs of highwaymen. To avoid them and the dangerous animals in the bush, the Drinkard uses a juju to turn himself into a large bird resembling an airplane. With his wife and their belongings on his back, he flies for five hours over the perilous region. After landing, they continue on foot and soon arrive in the town where his wife’s father told him his tapster was living. However, the townspeople inform him that the tapster left two years prior and now resides in Deads’ town, a place inhabited only by the dead.
With no path to Deads’ Town, the couple travels through a thick bush. At night, they encounter a huge white creature resembling a pillar, with no human head, feet, or hands, but one large eye at its topmost. The Drinkard uses a charm to turn himself and his wife into a fire for protection. Soon, many more of these creatures appear and surround the fire to warm themselves, trapping the couple. They eventually escape by moving the fire to the edge of the creatures’ territory. Next, they cross a field of grass with razor-sharp edges and stop to rest under a large termites’ house. At night, they discover they are in the center of a bustling market and the termites’ house was its owner. Captured by the field’s creatures, they are brought before their king, a being made of refuse. Here, they meet a creature named Laugh, whose laughter is so contagious they forget their pain. The king orders them taken to the “gods of war” (46), but the narrator, as Father of gods, uses his knowledge to pacify the god, who then leads them safely out of the field.
The couple arrives at the Wraith-Island, a town inhabited by beautiful, kind creatures who spend their time playing music and dancing. The Drinkard and his wife are welcomed and live there happily, with the Drinkard taking up farming. One day, a monstrous animal with long fingernails and five horns begins eating his crops. The Drinkard learns the beast is the owner of the land and pacifies it with an offering of crops. The animal then carries him to its home and gives him magical seeds of corn, rice, and okra. When planted, the seeds germinate, grow, and produce ripe fruit within minutes. The Drinkard harvests the miraculous crop and saves the seeds for his journey.
The Drinkard joins the creatures of Wraith-Island in clearing a field for their king. A tiny creature, who was not invited to help, magically causes the weeds to grow back. This happens twice more before they catch him. The creature explains he acted out of offense for being excluded. After 18 months on the island, the Drinkard and his wife depart. They journey through a “greedy” (52) bush where the air smells of baked goods, satisfying their hunger, and encounter a row of talking palm-trees. They then enter a forest filled with flesh-eating birds. At night, a Spirit of Prey appears, which kills its prey by closing its eyes, causing victims to die and drag themselves to the spirit. The intense heat from its open floodlight eyes causes the Drinkard’s wife to faint. The Drinkard carries her up a tree just as the spirit closes its eyes to kill a passing buffalo. The spirit finds their baggage but, discovering nothing edible, waits until nearly dawn before leaving.
In a ruined town, the Drinkard takes a cola from a basket near an image despite a warning voice. This provokes a backwards-walking creature with eyes on its knees, which chases them until they reach a wide, clean road. They realize the road leads to the Unreturnable-Heaven’s town and are magically forced down it, unable to stop or turn back. A gate opens, and they are thrust into the town, where they are captured by its cruel inhabitants, who do everything backwards. The creatures take them to their king, then torture the couple by shaving their heads with broken glass, rubbing pepper into the wounds, and burying them in the ground up to their necks. An eagle is brought to peck out their eyes but refuses to harm them. After a heavy rain softens the ground, the eagle helps the Drinkard escape his hole, whereupon he frees his wife. That night, they set fire to the town, which is made of thatch, and burn it to the ground, killing most of the residents. They build a shelter in the bush and stay a total of five months, with the Drinkard’s wife recovering fully after three months. They reach an impassable river and see a giant white tree. Two large hands emerge from it, grab them, and pull them inside.
Inside the white tree, they find themselves in a beautiful town. The hands deliver them to an old woman named the Faithful-Mother, who explains that she helps people who are in trouble. She takes them to a grand hall filled with images of all the people she has rescued, including white images closely resembling the Drinkard and his wife. She then leads them to a hospital where their heads, which were wounded by the creatures of the Unreturnable-Heaven’s town, are treated until their hair grows back.
The Drinkard and his wife live with the Faithful-Mother for over a year, enjoying a life of luxury with endless food, drink, and dancing. The narrator gambles away the money he had received for selling his “death” (74). Eventually, the Faithful-Mother tells them it is time to continue their journey. Though they beg to stay, she explains she has no right to delay anyone more than a year and some days. She gives them gifts, including a gun, and they find themselves suddenly outside the tree again. They retrieve their “fear” (75) from the borrower, who pays them the last interest instalment upon its return, but the buyer of their death refuses to return it. The Faithful-Mother uses a stick to create a bridge across the river for them, then disappears. They soon meet a tall lady dressed in red.
The Red-lady leads them to a Red-Bush and then a Red-town, where everything and everyone is red. The Red-king explains that they were once human, but he caught a red fish in a trap and a red bird in a net. When he stopped midway under a tree and tried to burn them, the smoke followed him back to town and spread, turning his entire town and all its inhabitants red, after which they died and reformed in this new, red land. He reveals that the two red creatures now demand an annual human sacrifice. As the time for the sacrifice is near, he asks the Drinkard or his wife to volunteer. Knowing he cannot die, the Drinkard agrees. At the creatures’ hole, a monstrous red fish emerges, which the Drinkard kills with his gun. A giant red bird appears next, and he kills it as well. The Red-king, fearing the Drinkard’s power, flees with his people, transforming into a great fire that burns the town before they turn into two trees and disappear. The Drinkard realizes his wife is with them and follows for days. When the trees reform into a town, he finds her and discovers the people are no longer red. The Red-lady reveals she is Dance, and she summons Drum and Song for a celebration so powerful that the dead rise and all creatures join in. Drum beat himself until he reached heaven and could not return; Song sang until he entered a large river and was seen no more; Dance danced until she became a mountain and never appeared again. The Drinkard and his wife settle in the new town, where he uses his magical seeds to become a rich man.
The emergence of a half-bodied baby from a pile of ashes, speaking “with a lower voice like a telephone” (34), illustrates the way in which this part of the novel fuses the supernatural with the modern. This fusion continues when the Drinkard uses a juju charm to become “a big bird like an aeroplane” (40) to fly over dangerous territory. These moments highlight the theme of The Encroachment of Western Technology and Colonial Bureaucracy, demonstrating how the narrative world absorbs and reinterprets foreign elements from the vantage of a Yoruba worldview. Tutuola’s prose does not treat these anachronisms as contradictions. Instead, they are naturalized points of comparison, suggesting a mind actively processing the realities of mid-20th-century Nigeria. This syncretism extends to economic life, as seen when the Drinkard transforms into a canoe and his wife runs a ferry service, earning over 56 pounds in British currency for a month’s work. The act is magical, but its success is measured in the colonizer’s currency and organized like a small business with set fares. By weaving modern technology and colonial economics into the fabric of a mythological quest, the narrative depicts a culture not isolated in the past. This world, the novel suggests, is dynamically engaging with the hybrid reality of its present.
The motif of supernatural transformation recurs throughout these chapters, where it functions as a reactive mechanism for survival. The Drinkard turns himself into a canoe to escape poverty, a bird to evade highwaymen, and a fire to ward off monstrous white creatures. This power is a means of problem-solving, rather than a means of asserting dominance over his environment. Other beings possess this ability as well, such as when the Red-king and his people transform first into a great fire and then into two trees to flee the Drinkard’s power, using magic as a tool of collective escape. The motif reaches its apex with the personified creatures of Drum, Song, and Dance, whose performance is so overwhelming that the characters transform into permanent features of the natural world—the heavens, a river, and a mountain. This use of the supernatural transformation motif contributes to the theme of Challenging the Nature of Heroism. Where a traditional hero might use shapeshifting to gain mastery, the Drinkard primarily uses it to escape from one perilous episode to the next, reinforcing his status as a survivor rather than a conqueror.
The narrative’s episodic structure moves through a series of surreal, self-contained worlds, each with its own internal logic. In the Unreturnable-Heaven’s Town, the inhabitants do everything backwards and punish the Drinkard and his wife with absurd cruelty. Immediately after, they find refuge on the idyllic Wraith-Island, a world of music and kindness, followed by the sanctuary of the Faithful-Mother’s white tree. The transitions are abrupt, thrusting the characters from extreme suffering to deep comfort and back again without a conventional arc of rising action. This structure emphasizes the journey over the destination, which is constantly deferred as the tapster is always somewhere else. This meandering path toward Deads’ Town structurally reinforces the theme of The Uncrossable Divide Between Life and Death. The goal remains elusive precisely because it is a place the living cannot easily reach, while the journey becomes a prolonged confrontation with the obstacles—both physical and metaphysical—that enforce this separation.
Throughout these trials, the narrative’s world is governed by a strict, if highly localized, moral code of reciprocity and consequence. The Drinkard and his wife endure the torment of the half-bodied baby as a direct result of the wife’s insistence on retrieving a material possession from their ruined past. On Wraith-Island, the “tiny creature” (49) who was not invited to help clear the king’s field retaliates by magically making the weeds regrow, punishing a social slight with supernatural sabotage. Conversely, when the Drinkard appeases the monstrous land-owning animal with an offering of crops, he is rewarded with magical seeds that produce an instant harvest. This principle is made literal through the personification of abstract concepts. The couple does more than simply feel fear; they “lent our fear’ to somebody at the door as well on interest” (70). They also encounter Laugh as a distinct being whose power is overwhelming. This worldview, in which emotions are external forces and social etiquette carries magical weight, reflects the oral traditions that shape the novel.
The Drinkard’s journey further deviates from epic conventions through his consistently unheroic character. When asked to volunteer for a human sacrifice by the Red-king, his decision is born of a cynical calculation: having already sold his death, he knows the red creatures cannot harm him. In this way, the sacrifice carries less weight because the Drinkard believes that he will not actually be sacrificing anything. His subsequent victory comes from a gun and ammunition gifted to him by the Faithful-Mother, rather than any skill or ingenuity of his own. Even after this triumph, the Red-king sees only a “fearful and harmful creature” (86) whose power is disruptive and dangerous, rather than someone who has saved his community. The Drinkard’s personal flaws remain on full display; during his idyllic stay in the white tree, he gambles away his money, demonstrating a persistent lack of foresight. This characterization aligns with the trickster figures of Yoruba orature, who achieve their goals through cunning and magical aids rather than conventional virtue, Challenging the Nature of Heroism by centering the narrative on a protagonist driven by self-interest and survival.



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