Buchi Emecheta's The Joys of Motherhood as an African Feminist Text Upon my first reading of Buchi Emecheta's The Joys of Motherhood, I immediately rejoiced--in this novel, I had finally encountered an account of a female protagonist in colonial and postcolonial African life. In my hands rested a work that gave names and voices to the silent, forgotten mothers and co-wives of novels by male African writers such as Chinua Achebe. Emecheta, I felt, provided a much-needed glimpse into the world of the African woman, a world harsher than that of the African male because woman is doubly marginalized. As a female in Africa, the opposite of male, woman suffers sexual oppression; as an African, the opposite of white in an ever-colonized nation, the African woman also suffers racial oppression. Nnu Ego, Emecheta's protagonist, became at once for me the poster female of Africa, a representative of all subjugated African women, and her story alerted me to all the wrongs committed against African women, wrongs that could only be righted through feminist discourse. As with many surface readings I have performed as a student of literature, however, my perspective on The Joys of Motherhood began to evolve. First, I realized and accepted Nnu Ego's failure to react against oppressive forces in order to bring about change for herself and the daughters of Africa; I consoled myself, reasoning that the novel still deserves the feminist label because it calls attention to the plight of the African woman and because its author and protagonist are female. Rereading the novel, however, also triggered the silencing of my initial response. I focused on such passages as the dying wish of Ona, Nnu Ego's mother, who implored Agbadi, Nnu Ego's father, ... ... middle of paper ... ...econd African Writers Conference, Stockholm, 1986. Ed. Kirsten Holst Petersen. Upsala: Scandinavian Institute of African Studies, 1998. 173-202. ---. The Joys of Motherhood. New York: George Braziller, 1979. Nnoromele, Salome C. "Representing the African Woman: Subjectivity and Self in The Joys of Motherhood." Critique 43.2 (2002): 178-190. Ogundipe-Leslie, Molora. "The Female Writer and Her Commitment." Women in African Literature Today. Ed. Eldred Durosimi Jones. Trenton, N.J.: Africa World Press, 1987. 5-14. Okeke, Phil E. "Reconfiguring Tradition: Women's Rights and Social Status in Contemporary Nigeria." Africa Today 47.1 (2000): 49-63. Schipper, Mineke. "Mother Africa on a Pedestal: The Male Heritage in African Literature and Criticism." Women in African Literature Today. Ed. Eldred Durosimi Jones. Trenton, N.J.: Africa World Press, 1987. 35-53.
Prentice Hall Anthology of African American Literature. Upper Saddle River, NJ: Prentice Hall, 2000. 163-67. Print.
In the book entitled Abina and the Important Men, by Trevor R. Getz and Liz Clarke is about a woman named Abina, who wakes up one morning and decides that she wants to change the way that women are portrayed in society. Although slaves in the 19th century were considered free, women had a more difficult time achieving freedom due to, how the culture was shaped, inequality between men and women and negative effects on society as a whole. Western and African cultures believe that all women should be silent, they are not allowed to say what is on their mind. Women’s opinions didn’t matter; they were considered useless. They were accepted to be housegirls, where females had to cook, clean and nurture their children if they had any.
This paper examines the drastic differences in literary themes and styles of Richard Wright and Zora Neale Hurston, two African--American writers from the early 1900's. The portrayals of African-American women by each author are contrasted based on specific examples from their two most prominent novels, Native Son by Wright, and Their Eyes Were Watching God by Hurston. With the intent to explain this divergence, the autobiographies of both authors (Black Boy and Dust Tracks on a Road) are also analyzed. Particular examples from the lives of each author are cited to demonstrate the contrasting lifestyles and experiences that created these disparities, drawing parallels between the authors’ lives and creative endeavors. It becomes apparent that Wright's traumatic experiences involving females and Hurston's identity as a strong, independent and successful Black artist contributed significantly to the ways in which they chose to depict African-American women and what goals they adhered to in reaching and touching a specific audience with the messages contained in their writing.
James, Johson Weldon. Comp. Henry Louis. Gates and Nellie Y. McKay. The Norton Anthology of African American Literature. New York: W.W. Norton &, 2004. 832. Print.
Morrison’s authorship elucidates the conditions of motherhood showing how black women’s existence is warped by severing conditions of slavery. In this novel, it becomes apparent how in a patriarchal society a woman can feel guilty when choosing interests, career and self-development before motherhood. The sacrifice that has to be made by a mother is evident and natural, but equality in a relationship means shared responsibility and with that, the sacrifices are less on both part. Although motherhood can be a wonderful experience many women fear it in view of the tamming of the other and the obligation that eventually lies on the mother. Training alludes to how the female is situated in the home and how the nurturing of the child and additional local errands has now turned into her circle and obligation. This is exactly the situation for Sethe in Morrison’s Beloved. Sethe questions the very conventions of maternal narrative. A runaway slave of the later half of 19th century, she possesses a world in which “good mothering” is extremely valued, but only for a certain class of women: white, wealthy, outsourcing. Sethe’s role is to be aloof: deliver flesh, produce milk, but no matter what happens, she cannot love. During the short space of time (which is 28 days) Sethe embraces the dominant values of idealised maternity. Sethe’s fantasy is intended to end upon recover, however, it doesn’t, on that ground she declines to give her family a chance to be taken from her. Rather she endeavours to murder each of her four kids, prevailing the young girl whom she named Beloved. Sethe’s passion opposes the slave proprietor’s- and the western plot line's endeavours at allocations, for better or in negative ways. It iwas an act arranged in the space between self-attestation and selflessness, where Sethe has taken what is humane and protected it
Verner, B. (1994, June 12). The Power and Glory of Africana Womanism. The Chicago Tribune.
First, I will look at the enslavement of Africans in the New World. During this period women of African descent were raped and abused. They were deemed as sexual beings and were used not only as producers but also as reproducers, to replenish the enslaved population. This latter role was also perpetuated through the rape of enslaved African women by their white slave masters. Thus, the health of these women was negated for the welfare of the plantation system. This system was justified by scientific racism and my essay will show how Europeans came to the conclusion that this was morally permissible. I will also explore how this has affected the idea of motherhood, showing the eurocentric view of African motherhood and contrast this with
(2012). Womanist Mothering: Loving and Raising the Revolution. Western Journal Of Black Studies, 36(1), 57-67.
Ngugi Wa Thingó. Writers in Politic: A Re-engagement with Issues in Literature and Society. Revised and enlarged ed. Nairobi, Oxford and Portsmouth: James Currey,East African Educational Publishers and Heinemann, 1981.
The only glory and satisfaction enjoyed by the women portrayed in Things Fall Apart was being a mother. They receive respect and love from their children. They are strong for their children. The women are viewed as very gentle and caring. They are expected to take care of their children with the best of their ability and are trusted totally by their children. This honorable presentation of women is used by Achebe to identify women's role in the Ibo society. This presentation is necessary to show that women indeed play an important role in society.
Things Fall Apart, a novel by Nigerian author Chinua Achebe is a story about an Igbo village in Nigeria and a man that once was a powerful influence in the tribe, but begins to lose his influence as Nigeria is colonized and Christian missionaries come to evangelize. A deeper look at the novel, with a feminist critics point of view, tells a lot about the Igbo people as well as the author’s thoughts about women in the novel. Feminist critics look at female authors, and female characters and their treatment as well as women’s issues in society. Since Achebe is a male, the main focus of feminist literary criticism for Things Fall Apart is the women in the novel and their issues as well as the Igbo view of gender identity. Many issues that women
There has been notions and perceptions of the treatment or adaptation of African literature as a perception that Africa’s is a cultural body. It is referred by Chinua Achebe as a metaphysical landscape. This term refers to a geographical entity that has surpassed historical experiences. It is also this perception that also gave rise to Organisations of National Unity and also the African Union. Conferences such as the African Writers’ Conference that happened at the Makerere University in the year 1962 discuss the nature and argue the role played by African literature in the African context.
“The Joys of Motherhood” by Buchi Emecheta reveals an interesting struggle between one’s own core values and the core values of others. The protagonist Nnu Ego begins her journey of self-discovery alone and barren. It is not until later that she sees being barren as a gift and being fertile as a burden. This drastic shift is brought on by her move from Ibuza to Lagos and the difference in culture she is exposed to as time progresses. In the novel, Nnu Ego faces obstacles that relate to changing gender roles in the community of Lagos, resulting in the shift of her beliefs from those established by her upbringing in Ibuza.
My favourite text is a play titled “Anowa” by Ama Ataa Aidoo which was published in year 1969. This book was first given to me by my father on my twelfth birthday. Although I was disappointed initially because I was expecting something “girly” on my birthday, I liked it when I read it because of the moral lessons it portrayed and the language used in the play. However, I got a deeper understanding of the test after I did a post-colonial and a feminist analysis on the text. In my post-colonial analysis, I saw that in a sense Anowa represents the beauty of the formal African society which was destroyed as a result of colonialism. A feminist analysis on the other hand shows that Anowa is a woman who is struggling against the 1870’s African feminist identity (the identity of weakness).
Barrington M. Salmon. “ African Women in a Changing World.” Washington Informer 13 March 2014: Page 16-17