Summary: Chapter 9
Ekwefi awakes Okonkwo very early in the morning and tells him that Ezinma is dying. Okonkwo ascertains that Ezinma has a fever and sets about collecting medicine. Ezinma is Ekwefi’s only child and the “center of her world.” Ekwefi is very lenient with her: Ezinma calls her by her first name and the dynamic of their relationship approaches equality.
Ekwefi’s nine other children died in infancy. She developed the habit of naming them symbolic things such as “Onwumbiko,” which means, “Death, I implore you,” and “Ozoemena,” which means, “May it not happen again.” Okonkwo consulted a medicine man who told him that an ogbanje was tormenting them. An ogbanje is a “wicked” child who continually re-enters its mother’s womb only to die again and again, causing its parents grief. A medicine man mutilated the dead body of Ekwefi’s third child to discourage the ogbanje’s return. When Ezinma was born, like most ogbanje children, she suffered many illnesses, but she recovered from all of them. A year before the start of the novel, when Ezinma was nine, a medicine man named Okagbue Uyanwa found her iyi-uwa, the small, buried pebble that is the ogbanje’s physical link to the spirit world. Although the discovery of the iyi-uwa ought to have solved Ezinma’s problems, every illness that Ezinma catches still brings terror and anxiety to Ekwefi.
Summary: Chapter 10
The village holds a ceremonial gathering to administer justice. The clan’s ancestral spirits, which are known as egwugwu, emerge from a secret house into which no woman is allowed to step. The egwugwu take the form of masked men, and everyone suspects that Okonkwo is among them. The women and children are filled with fear even though they sense that the egwugwu are merely men impersonating spirits.
The first dispute that comes before the egwugwu involves an estranged husband and wife. The husband, Uzowulu, states that the three brothers of his wife, Mgbafo, beat him and took her and the children from his hut but would not return her bride-price. The woman’s brothers state that he is a beastly man who beat their sister mercilessly, even causing her to miscarry once. They argue that Uzowulu must beg Mgbafo to return to him. If she agrees, the brothers declare, Uzowulu must understand that they will cut his genitals off if he ever beats her again. The egwugwu decide in favor of Mgbafo. One village elder complains that such a trifling matter should not be brought before them.
Summary: Chapter 11
Ekwefi tells Ezinma a story about a greedy, cunning tortoise. All of the birds have been invited to a feast in the sky and Tortoise persuades the birds to lend him feathers to make wings so that he can attend the feast as well. As they travel to the feast, Tortoise also persuades them to take new names for the feast according to custom. He tells the birds that his name will be “All of you.” When they arrive, Tortoise asks his hosts for whom the feast is prepared. They reply, “For all of you.” Tortoise proceeds to eat and drink the best parts of the food and wine. The birds, angry and disgruntled at receiving only scraps, take back the feathers that they had given to Tortoise so that he is unable to fly home. Tortoise persuades Parrot to deliver a message to his wife: he wants her to cover their compound with their soft things so that he may jump from the sky without danger. Maliciously, Parrot tells Tortoise’s wife to bring out all of the hard things. When Tortoise jumps, his shell breaks into pieces on impact. A medicine man puts it together again, which is why Tortoise’s shell is not smooth.
Chielo, in her role as priestess, informs Ekwefi that Agbala, Oracle of the Hills and Caves, wishes to see Ezinma. Frightened, Okonkwo and Ekwefi try to persuade Chielo to wait until morning, but Chielo angrily reminds Okonkwo that he must not defy a god’s will. Chielo takes Ezinma on her back and forbids anyone to follow. Ekwefi overcomes her fear of divine punishment and follows anyway. Chielo, carrying Ezinma, makes her rounds of the nine villages. When Chielo finally enters the Oracle’s cave, Ekwefi resolves that if she hears Ezinma crying she will rush in to defend her—even against a god. Okonkwo startles her when he arrives at the cave with a machete. He calms Ekwefi and sits with her. She remembers when she ran away from her first husband to be Okonkwo’s wife. When he answered her knock at his door, they exchanged no words. He led her to his bed and began to undo her clothing.
Things Fall Apart Chinua Achebe
(Full name Albert Chinualumogu Achebe) Nigerian novelist, essayist, poet, short story writer, and children's writer.
The following entry presents criticism on Achebe's Things Fall Apart (1958). For further information on his life and works, see CLC Volumes 1, 3, 5, 7, 11, 26, and 127.
Things Fall Apart (1958) is one of the most widely read and studied African novels ever written. Critics have viewed the work as Achebe's answer to the limited and often inaccurate presentation of Nigerian life and customs found in literature written by powers of the colonial era. Achebe does not paint an idyllic picture of pre-colonial Africa, but instead shows Igbo society with all its flaws as well as virtues. The novel's title is taken from W. B. Yeats's poem “The Second Coming.”
Plot and Major Characters
Things Fall Apart traces life in the Igbo village of Umuofia, Nigeria, just before and after its initial contact with European colonists and their Christian religion. The novel focuses on Okonkwo, an ambitious and inflexible clan member trying to overcome the legacy of his weak father. The clan does not judge men on their father's faults, and Okonkwo's status is based on his own achievements. He is a great wrestler, a brave warrior, and a respected member of the clan who endeavors to uphold its traditions and customs. He lives for the veneration of his ancestors and their ways. Okonkwo's impetuousness and rigidness, however, often pit him against the laws of the clan, as when he beats his wife during the Week of Peace. The first part of the novel traces Okonkwo's successes and failures within the clan. In the second part he is finally exiled when he shoots at his wife and accidentally hits a clansman. According to clan law, his property is destroyed, and he must leave his father's land for seven years. He flees to his mother's homeland, which is just beginning to experience contact with Christian missionaries. Okonkwo is anxious to return to Umuofia, but finds upon his return—the third part of the novel—that life has also begun to change there as well. The Christian missionaries have made inroads into the culture of the clan through its disenfranchised members. Shortly after his return, Okonkwo's own son leaves for the mission school, disgusted by his father's participation in the death of a boy that his family had taken in and treated as their own. Okonkwo eventually stands up to the missionaries in an attempt to protect his culture, but when he kills a British messenger, Okonkwo realizes that he stands alone, and kills himself. Ironically, suicide is considered the ultimate disgrace by the clan, and his people are unable to bury him.
The main theme of Things Fall Apart focuses on the clash between traditional Igbo society and the culture and religion of the colonists. Achebe wrote the novel in English but incorporated into the prose a rhythm that conveyed a sense of African oral storytelling. He also used traditional African images including the harmattan (an African dust-laden wind) and palm oil, as well as Igbo proverbs. In an effort to show the clash between the two cultures, Achebe presented traditional Christian symbols and then described the clan's contrasting reactions to them. For instance, in Christianity, locusts are a symbol of destruction and ruin, but the Umuofians rejoice at their coming because they are a source of food. The arrival of the locusts comes directly before the arrival of the missionaries in the novel. Transition is another major theme of the novel and is expressed through the changing nature of Igbo society. Several references are made throughout the narrative to faded traditions in the clan, emphasizing the changing nature of its laws and customs. Colonization is a time of great transition in Umuofia and the novel focuses on Okonkwo's rigidity in the face of this change. Other themes include duality, the nature of religious belief, and individualism versus community.
Reviewers have praised Achebe's neutral narration and have described Things Fall Apart as a realistic novel. Much of the critical discussion about Things Fall Apart concentrates on the socio-political aspects of the novel, including the friction between the members of Igbo society as they are confronted with the intrusive and overpowering presence of Western government and beliefs. Ernest N. Emenyonu commented that, “Things Fall Apart is indeed a classic study of cross-cultural misunderstanding and the consequences to the rest of humanity, when a belligerent culture or civilization, out of sheer arrogance and ethnocentrism, takes it upon itself to invade another culture, another civilization.” One of the issues that critics have continued to discuss is whether Okonkwo serves as an embodiment of the values of Umuofia or stands in conflict with them. This discussion often centers around the question of Okonkwo's culpability in the killing of the boy, Ikemefuna. Many critics have argued that Okonkwo was wrong and went against the clan when he became involved in killing the boy. Other reviewers have asserted that he was merely fulfilling the command of the Oracle of the Hills and Caves. Several critics have compared Things Fall Apart to a Greek tragedy and Okonkwo to a tragic hero. Aron Aji and Kirstin Lynne Ellsworth have stated, “As numerous critics have observed, Okonkwo is at once an allegorical everyman figure embodying the existential paradoxes of the Igbo culture in transition, and a great tragic hero in the tradition of Oedipus, Antigone, and Lear.” Some critics have complimented Achebe's choice to write in the language of the colonizers, lauding his artful use of the English language. Several reviewers have also noted his use of African images and proverbs to convey African culture and oral storytelling. Arlene A. Elder has asserted, “Achebe's use of proverbial language enhances the richness of Things Fall Apart, and the author points out that ‘[a]mong the Igbo the art of conversation is regarded very highly, and proverbs are the palm-oil with which words are eaten.’”