Lingering Issues In Chinua Achebe's Female Characterisation

Ugochukwu Ejinkeonye 

Recently, (Saturday April 12, 2008), I was at the National Theatre, Lagos, because of Prof Chinua Achebe, Africa’s best known and most widely read author, who many regard as the indisputable father and rallying point of African Literature.  The Association of Nigerian Authors (ANA) had organised a forum to commemorate the fiftieth anniversary of the publication of Achebe’s classic novel, Things Fall Apart, published in London by William Heinemann in June 1958. 

*Chinua Achebe 

I was held back at the office by some engagements and so by the time I arrived at the venue, I had missed a substantial part of the ‘Interactive Session’. I came in while Mr. Segun Olusola, a former ambassador and arts enthusiast, was concluding his speech. As I sat down, I heard him paying glowing tribute to Achebe and his novel and saying how happy he was to be at the event. He then announced that he would also grace the Awka event in honour of Achebe and Things Fall Apart coming up more than a week later.  

Achebe evokes a very special kind of feelings in most people that have read either his novels or essays. And this was evident in the emotion-laden speeches made by various speakers at the National Theatre that day. The literary patriarch and icon was absent at the ceremony, but his image loomed large everywhere, and this, mind you, was not because of those large posters and billboards bearing his photographs (and, of course, the emblem of the main sponsors, Fidelity Bank Plc) displayed at strategic points by the organisers. 

His wit, deep insights, the wisdom he conveys with such sagely precision, the simple, subtle diction and disarming style, the impressive imageries he effortlessly conjures and the pleasant local colour he so generously splashes on his narratives, never cease to overwhelm. Achebe is one writer whose reputation and looming image was neither built nor enhanced by any prize. What further glamour can occasional decorations add to an already very colourful and ‘big masquerade’? The man rather dignifies any prize he decides to accept and not the other way round. For instance, as Achebe and Things Fall Apart are celebrated across the world this season, only a few, perhaps, might consider it necessary to recall that a few months ago, he was awarded the Man Booker Prize – a very important prize, no doubt.  Such information, though great in its own right, makes little or no difference to the man’s already solidly established stature.    

It is impossible to read Things Fall Apart without visualizing the village of Umuofia in its alluring freshness in the warm embrace of rich nature in its most exciting vivacity and purity.  This is the only novel I know written by an African that has acquired such a stature and influence, as to be so celebrated in such a grand fashion.

No, doubt, Chinua Achebe is Africa’s rare gift to the world and Nigeria should never cease to be glad and grateful that this giant emerged from its loins.

With his novels, superb lectures and rich essays, Achebe has been able to compel the world out there to significantly alter their entrenched warped views about Africa.

After a speaking engagement in Canberra, Australia, in the summer of 1973, Professor Manning Clark, a distinguished Australian historian wrote to Achebe and pleaded: “I hope you come back and speak again here, because we need to lose the blinkers of our past. So come and help the young to grow up without the prejudices of their forefathers…”

I find this display of sincerity very touching.

Part of the greatness of Things Fall Apart is the significant readership it enjoys across cultures and races; its message continues to register lasting impacts that are rare and peculiar. Not a few Nigerians can recall the instant celebrity status they had suddenly assumed or even some favours that had come their way in one remote part of the world or the other just because they had let it be known that they were from Achebe’s country.

*Ugochukwu Ejinkeonye 

Achebe has also remarkably excelled as a critic and essayist. His 1975 Chancellor’s Lecture at the University of Massachusetts in Amherst, entitled, “An Image Of Africa: Racism In Conrad’s Heart Of Darkness,” which I am never of tired of re-reading, has not only significantly altered the nature and direction of Conrad criticism, but is now widely regarded as one of the significant and influential essays in the criticism of literature in English.

As I listened to several speeches at the National Theatre on that Saturday, I could feel the depth of admiration displayed by the various speakers towards Achebe and his work.  The whole thing was moving on well until one lady came up with elaborate praise for Achebe for the significant “improvement” his female characters achieved in Anthills Of the Savannah, unlike what obtained in Things Fall Apart, which we had all gathered to celebrate that afternoon.

 Now, I would easily have ignored and quickly forgotten this comment as “one of those things” one was bound to hear in a “mixed crowd” if I had not also heard similar thoughts brazenly expressed by some female scholars whom I thought should be better informed. For instance, I was at a lecture in Port Harcourt some years ago when a female professor of literature announced with the excitement of someone who had just discovered another earth: When Achebe created his earlier female characters, she said,  we complained; then he responded by giving us Clara (in No Longer At Ease) and we still complained; then he gave us Eunice (in A Man Of The People) and we still asked for more; and then he gave us Beatrice (in Anthills Of The Savannah)! Unfortunately, I have encountered thoughts even more pedestrian than this boldly flaunted in several literary essays by women and some men.