things fall apart essay on masculinity

Things Fall Apart

Chinua achebe, everything you need for every book you read..

Okonkwo dedicates himself to being as masculine as possible, and through his rise to become a powerful man of his tribe and subsequent fall both within the tribe and in the eyes of his son Nwoye , the novel explores the idea of masculinity. Okonkwo believes in traditional gender roles, and it pains him that his son Nwoye is not more aggressive like he is. As a result, it's revealing that he expresses the wish that his daughter Ezinma were a boy—from this we know how fond he is of her. Additionally, in a meeting towards the very beginning of the book, Okonkwo insults a man without title by calling him a woman, demonstrating how much masculinity is valued when ranking those in Umuofia society. Ultimately, though, Okonkwo's adherence to masculinity and aggression leads to his fall in society—he becomes brittle and unable to bend with the changes taking place in his clan. In keeping with this principle of masculinity, Okonkwo forces himself to kill his own surrogate son, murder the white man against his better judgment, and hang himself before a punishment can be imposed by others. Okonkwo's aggression makes him weak in the end—it leaves him with no room to maneuver against the more subtle ways of the white man.

Nwoye struggles with this idea of masculinity, as he wants to please his father by being aggressive and traditional, but ultimately, he's repelled by the violence in Umuofia rituals and joins the Christians. Nwoye's departure can also be linked to this idea from Okonkwo's uncle, Uchendu , after the family is exiled from Umuofia: “'It's true that a child belongs to its father. But when a father beats his child, it seeks sympathy in its mother's hut.'” Likewise, after being beaten by his father, Nwoye leaves to seek solace in the more feminine and seemingly gentle Christian religion.

Masculinity ThemeTracker

Masculinity Quotes in Things Fall Apart

…[Okonkwo] was not afraid of war. He was a man of action, a man of war. Unlike his father he could stand the look of blood. In Umuofia's latest war he was the first to bring home a human head.

Even as a little boy he had resented his father's failure and weakness, and even now he still remembered how he had suffered when a playmate had told him that his father was agbala . That was how Okonkwo first came to know that agbala was not only another name for a woman, it could also mean a man who had taken no title. And so Okonkwo was ruled by one passion – to hate everything that his father Unoka had loved. One of those things was gentleness and another was idleness.

Okonkwo did as the priest said. He also took with him a pot of palm-wine. Inwardly, he was repentant. But he was not the man to go about telling his neighbors that he was in error. And so people said he had no respect for the gods of the clan.

Nwoye knew that it was right to be masculine and to be violent, but somehow he still preferred the stories that his mother used to tell…

Ezinma took the dish in one hand and the empty water bowl in the other and went back to her mother's hut. “She should have been a boy,” Okonkwo said to himself again. His mind went back to Ikemefuna and he shivered.

“The world is large,” said Okonkwo. “I have even heard that in some tribes a man's children belong to his wife and her family.” “That cannot be,” said Machi. “You might as well say that the woman lies on top of the man when they are making the children.”

It was a crime against the earth goddess to kill a clansman, and a man who committed it must flee from the land. The crime was of two kinds, male and female. Okonkwo had committed the female, because it had been inadvertent. He could return to the clan after seven years…

Living fire begets cold, impotent ash.

Patriarchy and Masculinity in Achebe’s “Things Fall Apart” Essay

The protagonist of Things Fall Apart by Chinua Achebe, Okonkwo, is the personification of radical masculinity and patriarchy. The protagonist’s self-identification as a warrior, husband, and father is brutal and often based on cruelty and aggression. To the greatest extent, Okonkwo’s personal qualities are manifested against the background of other characters who find themselves in similar situations. Thus, the novel is built on the juxtaposition of concepts, ideas, and concepts, thanks to which the reader can fully understand the main character’s perception of the concepts of masculinity and patriarchy.

Notable is his father’s influence on the formation of Okonkwo’s personality and worldview. The main goal of the protagonist’s life is not to be like his father. He carries this opposition into all areas of his life, from farming to dealing with children. Also, Okonkwo’s qualities as a father when comparing how he treats his children and Ikemefuna, and Okonkwo and Ikemefuna’s attitude towards Nwoye. Another noteworthy feature of the protagonist is the cruel treatment of his wives, while his uncle treats women with respect and reverence.

The main opposition in the novel is the clash of tradition and innovation. The author conveys this confrontation through the conflict between African traditions, embodied in Okonkwo, and Christian ideas, brought by missionaries. Even though at first glance, these concepts are opposite, they still have similar features. One of these features is the cruelty and aggression with each side defending its interests.

Khan, S. N., Sardaraz, K., Khan, I. U., & Khan, A. K. (2021). Exploring behavioral characteristics in Chinua Achebe’s Things fall apart. PalArch’s Journal of Archaeology of Egypt/Egyptology , 18 (18), 1209-1217.

In their study, Khan et al. describe the critical characteristics of the protagonist. Among the main character traits of Okonkwo, researchers list competitiveness, self-confidence, ambition, and fearlessness. An analysis of Okonkwo’s personality is necessary to understand the motivation for his decisions and actions, as well as the factors that influenced the formation of the character. Moreover, a study by Khan et al. (2021) analyzed the father’s influence on the protagonist, concluding that Okonkwo’s behavioral patterns were formed as the complete opposite of Unoka. This source helps to understand the character’s main characteristics better, as well as to identify scenes in the novel in which the protagonist deviates from his classical model of behavior. I will cite this source in my research project to support my argument about the general perception of the concepts of masculinity and patriarchy by the protagonist.

Kiran, A., & Pareek, S. (2022). Narrativizing patriarchy within the framework of Things Fall Apart. Specialusis Ugdymas, 1 (43), 8519-8528.

Kiran and Pareek analyze the patriarchal patterns in the Ibo community depicted in the novel. In particular, researchers focus on how the patriarchal structure of society influenced the distribution of dominant roles. Using the example of Okonkwo and his wives, Kiran and Pareek demonstrate how these dominant roles can be embodied in traditional African culture. Researchers also conclude that society predisposes men to act under specific patterns. I will use the results presented in the source to understand the nature of the patriarchy illustrated in the novel better.

Ngendahayo, J. D. (2021). The protagonist’s masculine perceptions in Things Fall Apart as the sign of Igbo society breakup. Journal of Literature, Languages and Linguistics(JLLL ), 75 , 5-10.

Like Kiran and Pareek (2022), Ngendahayo (2021) focuses on the role of women in the society depicted in the novel. The research focuses on defining gender roles in the community and how the protagonist perceives it. Ngendahayo focuses on how Okonkwo understands the concept of a man as a husband. This approach helps better understand the Ibo community’s social structure and how radical and brutal Okonkwo is in his views. In addition, the article touches on the topic of confrontation between the indigenous African tribes and the British colonialists, which is also of great importance for my future research. Ngendahayo notes that despite the difference in views, the approaches to solving situations between people of the clan and missionaries have standard features. Thus, the results of this study will help me establish how different the traditional and innovative Roma society is. In addition, I will use this source to support my argument that the missionaries and Okonkwo had similarities despite their apparent differences.

Chinua, A. (1959). Things fall apart. [eBook edition]. Anchor Books.

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IvyPanda. (2023, August 22). Patriarchy and Masculinity in Achebe’s “Things Fall Apart”. https://ivypanda.com/essays/patriarchy-and-masculinity-in-achebes-things-fall-apart/

"Patriarchy and Masculinity in Achebe’s “Things Fall Apart”." IvyPanda , 22 Aug. 2023, ivypanda.com/essays/patriarchy-and-masculinity-in-achebes-things-fall-apart/.

IvyPanda . (2023) 'Patriarchy and Masculinity in Achebe’s “Things Fall Apart”'. 22 August.

IvyPanda . 2023. "Patriarchy and Masculinity in Achebe’s “Things Fall Apart”." August 22, 2023. https://ivypanda.com/essays/patriarchy-and-masculinity-in-achebes-things-fall-apart/.

1. IvyPanda . "Patriarchy and Masculinity in Achebe’s “Things Fall Apart”." August 22, 2023. https://ivypanda.com/essays/patriarchy-and-masculinity-in-achebes-things-fall-apart/.

Bibliography

IvyPanda . "Patriarchy and Masculinity in Achebe’s “Things Fall Apart”." August 22, 2023. https://ivypanda.com/essays/patriarchy-and-masculinity-in-achebes-things-fall-apart/.

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Patriarchy and Masculinity in “Things Fall Apart”

Chinua Achebe’s novel “Things Fall Apart” is a thought-provoking masterpiece that explores various themes, including the role of patriarchy and masculinity in Igbo society. Set in pre-colonial Nigeria, the novel presents a complex portrayal of these concepts and challenges readers to question long-held assumptions about gender and power. In this blog post, we will delve into the intertwined themes of patriarchy and masculinity in “Things Fall Apart,” examining their impact on the characters and society portrayed in the book.

The Patriarchal Structure of Igbo Society

At the heart of “Things Fall Apart” lies a deeply patriarchal society. In the Igbo culture, men hold the reins of power, while women are relegated to subservient roles. The title itself suggests the fragile nature of masculinity when faced with cultural upheaval. Okonkwo, the novel’s protagonist, embodies the stereotypical ideal of masculinity in Igbo society – strong, dominant, and fiercely independent. However, his adherence to these cultural norms becomes his tragic flaw, ultimately leading to his downfall.

The Pressure to Conform to Masculine Ideals

From a young age, Okonkwo is groomed to embrace stereotypical masculine traits. He is taught that strength and aggression are assets, and any sign of weakness is a blemish on his honor. This societal pressure pushes Okonkwo to adopt an overly macho persona, shunning any form of vulnerability or tenderness. As a result, his relationships become strained, and he struggles to maintain genuine connections with his wives and children.

The Suppression of Femininity

With patriarchy comes the suppression of femininity, which is evident throughout “Things Fall Apart.” Women are confined to domestic roles, expected to bear children, cook, and maintain the household. They are often silenced and treated as property, with no agency when it comes to decision-making. This suppression of femininity perpetuates an imbalance of power and prevents the growth and progress of Igbo society.

Exciting Topic: Symbolism in Things Fall Apart

The Role of Women in Challenging the Patriarchy

While “Things Fall Apart” primarily focuses on masculinity, it also highlights the resilience and strength of women in challenging the patriarchal norms. Characters like Ezinma and Ekwefi defy societal expectations, displaying intelligence, courage, and independence. Their actions disrupt the established order and provide glimpses of a more equitable society.

The Conflict Between Traditional and Colonial Masculinities

The arrival of European colonialism in “Things Fall Apart” introduces a clash between traditional Igbo masculinity and the ideals imported by the colonizers. The white man’s presence challenges the authority of the Igbo men, creating a crisis of identity and purpose. Some characters, like Okonkwo, view the colonial influence as emasculating and threatening, further driving them to cling onto traditional masculine values.

Colonialism as a Catalyst for Change

Although the introduction of colonialism disrupts Igbo society, it also offers an opportunity for reevaluating and redefining gender roles. The colonizers bring with them a different set of masculine ideals that could potentially subvert the existing patriarchal structure. Some Igbo men, like Nwoye, recognize the limitations of their traditional masculinity and find solace in the new perspectives presented by the colonial influences.

The Fallout of Patriarchy and Masculinity

Throughout the novel, we witness the devastating consequences of a society built on patriarchy and strict adherence to masculine norms. The suppression of emotions leads to an inability to cope with change, resulting in violence and oppressive behavior. Okonkwo’s relentless pursuit of masculinity isolates him from his loved ones, ultimately leading to his tragic downfall. This serves as a cautionary tale, underscoring the destructive nature of unchecked patriarchy.

“Things Fall Apart” presents a complex tapestry of patriarchy and masculinity in pre-colonial Igbo society. Achebe invites us to critically examine these themes, challenging our preconceived notions of power and gender roles. The novel’s exploration of the consequences of rigid masculinity serves as a reminder of the importance of inclusivity and empathy in shaping a more equitable society. If we are to avoid the downfall portrayed in “Things Fall Apart,” we must recognize the limitations of patriarchal systems and work towards embracing diverse expressions of gender and identity.

With its timeless themes and thought-provoking narrative, “Things Fall Apart” continues to resonate with readers around the world. Achebe’s masterful storytelling forces us to confront uncomfortable truths about power, privilege, and the often-damaging effects of patriarchal systems. By engaging with this novel and reflecting on its messages, we can contribute to the ongoing dialogue on gender equality and challenge the societal norms that hold us back.

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Iva Jankovic on Arts One

A travel journal of sorts, masculinity in achebe’s things fall apart.

Wow, this book is hard to understand. I mean, it’s wonderful to read and imaginative like an old folk story, but when I look back on what I’ve read, it’s insanely complicated.

One of the main things I wanted to explore in this blog post was the different representations of gender roles in the novel, and the attitudes of different characters towards them. I would also like to ask where these attitudes fall in the context of what is traditional view of masculinity vs. femininity.

The first character we meet is of course Okonkwo, and it is pretty clear where he stands on the issue of gender. According to him, masculinity equals virtue, femininity equals weakness. Everything about him screams an obsession with being masculine – an obsession for power, reputation, wealth, and the ancient ways where men were men and women were women.

Okonkwo seems to have a certain contempt for the feminine, which is mostly due to his father, who had failed in his manly role and brought shame upon the whole family. This contempt is reciprocated onto his son Nwoye, whom Okonkwo thinks weak for spending too much time with his mother, and also for joining the Christian missionaries.

However, I do not think it is possible to say that Okonkwo’s views are exactly congruent with the views of the rest of the tribe. For example, he believes that to be manly, one must be aggressive and exert one’s power over others. He takes this view too far, though, on several occasions, namely beating his wife, almost killing her, killing his “adopted” son just to show he was not a coward, and killing someone at a funeral (albeit by accident). The other members of the tribe do not approve of this kind of behavior, and generally think that he is a violent and dangerous man. He also rarely thinks about things, and instead acts based on instinct and anger.

His exile provides him with an opportunity to “get in touch with his feminine side”, but instead, he reassures himself that his manliness is his virtue and that all his unmanly children are the ash from his roaring fire. He also grows contempt for the more diplomatic nature of his maternal tribe, and stubbornly refuses to accept the need to change his attitudes.

I’m stuck wondering whether there is some meaning in Okonkwo’s failure to change – what is Achebe trying to say about traditional (or ultra-traditional) attitudes?

And also, if the tribe’s attitudes are not quite as radical as Okonkwo’s, then is Okonkwo in some way defying tradition, or just overexaggerating it???

Is Achebe commenting on masculinity, or just drawing out a problem?

WHAT IS GOING ON HERE???

I think I’m losing my mind.

5 Thoughts.

Ah, I wish I could just say, okay, THIS is what is going on. But alas, I can’t. I completely agree that Okonkwo is criticized in the text in many ways, including in his view of what it takes to be a “man.” In that sense, I don’t think of him as upholding the tradition of his people in any straightforward sense. I mean, he does in the sense that he is upset when people turn away from their ancestors towards this new religion, but not in all of his actions or attitudes.

But what might Achebe be saying with his focus on Okonkwo? Here’s a preliminary thought. If we focus on the idea of things falling apart, and how it’s emphasized a few times in the text that the clan is coming apart (e.g., 167, 176, 183), we can see Okonkwo as contributing to this. He won’t go along with the rest of the group at the end; he says that if they decide not to go to war with the Christians he’ll take revenge by himself. And though the speaker at the last meeting in the village is starting to suggest that they fight back, Okonkwo doesn’t wait for the decision to be made by the group as to what to do–he acts on his own. He is therefore, I think, contributing to the clan falling apart, not acting in unison. He is too focused on himself, his achievements, rather than the group and his relationships with others.

But what more Achebe might be saying, what bigger point he might be trying to make, I’m not sure of (yet?). I’m curious to hear what others think!

In one of Achebe’s interviews, he says that his people have respect for the middle ground. Being in the middle ground means that one is neither here nor there. Therefore I think that this is the point Achebe is trying to prove. Of course the Umuofian society had its view of manliness, but Okonkwo exaggerates it. Because of fear of failure, he becomes so aggressive and violent. According to him, that is how a successful and great man should be. However, despite being a ‘full’ man, he still fall at the end of the novel. On the contrary, Achebe shows the moderate version of a successful man: Obiereka. He is as successful as Okonkwo, but he is not violent. Through this comparison, I think Achebe is trying to prove that the middle ground is actually far much better than being on the extreme.

I wish to hear other people’s opinion on this…

fuck achebe

children say rash things without caution. When you are an adult come back and comment. For now u are just trending on subject mood

Fuck Achebe

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“ Masculinity” in Things Fall Apart

An igby prize essay by nidhi singh on achebe’s things fall apart and its flawed idea of masculinity that defined the life of its hero okonkwo.

The Kalahari Review

Kalahari Review

What Achebe accomplishes with Things Fall Apart is exemplary. He renders the “wild and passionate uproar” of the “savages”, as described by Marlow in Heart of Darkness , with meaning. He assimilates their rites into the realm of orderly complexity, strong tradition, a vibrant culture which gives a beautiful recognition to humanity’s relationship with nature. He tells us of the unremitting hard work invested by them in agriculture, their proud self-sufficiency, and the fascinating mix of folklore, dance and music which breathes an imaginative vigour in the everyday life and celebrations of Igbo society. Hegel’s declaration of the characteristic point of Negro life as being devoid of that realisation “in which the interest of man’s volition is involved and in which he realises his own being” seems preposterous as Achebe documents the organisation of life in a society in which “a man was judged according to his and not according to the worth of his father” — a principle only the most sophisticated societies can hold to. The other important aspect of Achebe’s documentation is that it is honest and neutral, it doesn’t glorify and it doesn’t diminish. This is the strength of his narrative which humanises the ‘dehumanised’ — he never looks away from the degeneration that festers within, he never fails to spot the weak linings that threaten to turn into fissures which would split wide open the whole structure. Achebe’s portrayal of the Igbo society is hard-hitting because it is intensely human — there are societal forces shaping the individual, there are imperfections in the hero it idolises, there is violence and injustice that is normalised and overlooked. Achebe never looks past the imperfections and never offers any deliverance. Because, these are things which are not within his bounds — Igbo society bristles with life and decomposes as any society would, which battles the invasion of colonialism while harbouring sinister limitations. One of the major limitations of the Igbo society is its flawed idea of masculinity which defines the life of Okonkwo who, perhaps unconsciously but perpetually, exerts to align himself with the socially sanctioned concept of ‘heroism’ and ‘masculinity’. Okonkwo’s life is dominated primarily by two things: “the fear of failure and of weakness”, and his quest to establish himself as one of the greatest men of his clan. What is posited against this idea of weakness is the idea of strength that constructs itself only with the negation of sensitivity: “To show affection was a sign of weakness — the only thing worth demonstrating was strength. He therefore treated Ikemefuna as he treated everybody else — with a heavy hand.” Such construction of strength and masculinity, thus, is in opposition with the values of love, kindness, compassion and it invalidates an environment in which these values could mature and develop. It puts a huge limitation on the individual and his self-exploration because the end of any such journey has been pre-decided. Okonkwo, as a small boy, has already settled on what he wants to and what he doesn’t want to become. There are no alternatives considered, no mutability allowed. Okonkwo, perhaps “is not a cruel man”, but what propels most of his actions is not the presence of an unapologetic cruelty, but the readiness with which he overcomes each of these emotions — the potency of his desire to “tremble and subdue” puts down his kindness and compassion. A man’s life so constituted by ruthless masculinity and a desire for success in his society, calls into question the dictatorial values of the whole society — because his manhood is the function of the latter. Igbo society seems to believe in the ‘maleness’ and ‘femaleness’ of people, things, and actions. The latter is considered extremely undesirable in context of the former and there is a constant attempt to distance the two. The idea of bravery and heroism emanates from an accomplishment attained by overcoming of the ‘feminine’ by the ‘masculine’, the ‘passive’ by the ‘active’, ‘demonstration of affection’ by ‘apathy’, ‘domestic folklore’ by ‘the stories of war’. This is how masculinity in Igbo society is understood and defined — in a constant opposition with femininity, by keeping maleness in a domain separate from all things apprehended as female. The only realm in which the feminine is respected, its power recognised, and its voice heard is the realm of divinity — the earth goddess of fertility, the motherland which protects its warrior son in adverse times, the prophetic priestess of Agbala. In ordinary life, the priestess of Agbala, is “a widow with two children” who puts everyone into disbelief by being someone deific and prophetic in another realm. In ordinary life and in the local space, the woman loses the voice and agency she has in the orbit of divinity. This is in stark contrast, with men functioning as ‘egwugwu’, the spirits of the ancestors. If it is suspected that Okonkwo could be one of the egwugwu behind the mask, it is never expressed because, “if they thought these things they kept them within themselves”. The contradiction in the idea of a man’s participation in the realm of divinity and his ordinariness in life isn’t questioned but the same circumstances when applied to a woman are met with incredulity. The rigid separation of ‘maleness’ and ‘femaleness’ in the Igbo society produces a constant duality which is never resolved and that weakens its strength from within. Storytelling has a central place in Igbo society. It is an integral part of the everyday Igbo life, of everyone’s experience of childhood and growing up. Nwoye has a great love for the stories of his mother and Ikemefuna. They tell him of the quarrel between the earth and sky, the disagreement between “a man and a mosquito”, “of the tortoise and his wily ways”. He is also introduced to Okonkwo’s stories which are “masculine stories of violence and bloodshed”. His mother’s stories are gradually discarded in favour of his father’s masculine stories because he is made to understand that it is a part of growing up, his initiation into manhood — this relegation of the feminine. But it has also been stated how “he feigned that he no longer cared for women’s stories”. This leads to a perpetual duality, a chasm in the self and its wholesome flourishing. The feminine stories more beautifully and harmoniously integrate humanity with nature. They are more in line with the communitarian values of Igbo society and the animism of its religion — a reminder of how life exists not just inside the territory of man and his associations, a gentle acceptance of the difference and discord that is inherent in such a framework. This is contradictory to the masculine stories which are based on tales of brute force and decimation. The exclusion of Nwoye from this world of stories, takes away from him the power of language and expression, the ability to articulate the “vague chill” that descends on him when he “heard the voice of an infant crying in the thick forest”. It takes away from him the power to express pain and fear, the power to identify and speak against evil and injustice. It is an ailment that plagues not just Nwoye but the whole Igbo society — it handicaps language and expression. It deforms personalities. One of the major reasons why the Igbo society was unable to protect its culture, traditions and religion from missionaries and colonialism was its rigid conception of masculinity. Christianity assimilated everything that was considered odious, cancerous, throwaway by the Igbos — the outcast osus, women who had been the most compromising victims of patriarchy, and tortured souls like Nwoye who finally found a space which gave voice for the criticism of sinister practices. Everything that was broken, battered and overridden by the obsessive exaltation of masculinity, found a space to accumulate and build up. The Igbo society failed to recognise the cracks within. It failed to remedy its diseased state and reinvent. It never relented its grasp on individuals like Okonkwo who grew, lived and got distorted in its calcified cell.

Nidhi Singh lives in Bangalore, India. She studied English literature at the University of Delhi and was a Fulbright FLTA at Ohio University. She loves African literature and feels most fulfilled as a person when she reads or writes. Someday, she will visit Africa.

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An Appraisal

Bearing Witness, With Words

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By Dwight Garner

• March 22, 2013

“If you don’t like someone’s story,” Chinua Achebe told The Paris Review in 1994, “write your own.”

In his first novel and masterpiece, “Things Fall Apart” (1958), Mr. Achebe, who died on Thursday at 82, did exactly that. In calm and exacting prose, he examined a tribal society fracturing under the abuses of colonialism. The novel has been assigned to generations of American high school and college students — my college dispatched a copy to me before my freshman year.

In many respects “Things Fall Apart” is the “To Kill A Mockingbird” of African literature: accessible but stinging, its layers peeling over the course of multiple readings.

“Things Fall Apart,” its title taken from William Butler Yeats’s poem “The Second Coming,” has sold more than 10 million copies and been translated into some 45 languages. Time magazine placed it on its list of the 100 best English-language novels from 1923 to 2005.

The novel tells the story of Okonkwo, a stoic clan leader and former wrestling hero who returns to his village after seven years in exile. (He’d been sent away after his role in an accidental death.) The changes that Christian missionaries and other white men have brought are intolerable to him. “Things Fall Apart” rolls toward a bleak denouement.

What sticks with you about the novel is its sensitive investigation, often through folk tales, of how culture functions and what it means. Mr. Achebe (his name is pronounced CHIN-you-ah Ah-CHAY-bay) had plenty to say about notions of traditional masculinity, as well, not to mention his braided observations about nature, religion, myth, gender and history.

The novelist grabbed the subject of colonialism “so firmly and fairly,” John Updike wrote in The New Yorker in the 1970s, “that the book’s tragedy, like Greek tragedy, felt tonic; a space had been cleared, an understanding had been achieved, a new beginning was implied.”

Growing up in Nigeria, Mr. Achebe attended schools that were modeled upon British public schools. In his recent book of essays, “The Education of a British-Protected Child” (2009), he was eloquent about what it felt like as a young man to read classic English novels. They provided a cognitive dissonance he had to work through.

“I did not see myself as an African in those books,” he wrote. “I took sides with the white men against the savages.” He continued: “The white man was good and reasonable and smart and courageous. The savages arrayed against him were sinister and stupid, never anything higher than cunning. I hated their guts.”

Mr. Achebe grew up, and grew wiser: “These writers had pulled a fast one on me! I was not on Marlowe’s boat steaming up the Congo in ‘Heart of Darkness’; rather, I was one of those unattractive beings jumping up and down on the riverbank, making horrid faces.”

Mr. Achebe was a poet, professor, short-story writer and critic in addition to being a novelist. His more than 30 other books include the novels “No Longer At Ease” (1960) and “Anthills of the Savannah” (1987). He published several children’s books. He was also the author, controversially, of an essay called “An Image of Africa: Racism in Conrad’s ‘Heart of Darkness.’ ”

While many critics defended Conrad, Mr. Achebe didn’t back down from his assertion that the racism in Conrad was not merely the norm for its time. In a book of essays he quoted earlier writers who, he said, were less backward.

Mr. Achebe was a mentor and role model to a generation of African writers — he’s often referred to as the father of modern African writing. But like many novelists who find success with an early book, Mr. Achebe found himself almost solely defined by “Things Fall Apart.” He spent the last two decades in the United States, teaching at Bard College and then Brown University.

It’s been more than 50 years since the publication of Mr. Achebe’s pioneering and canonical novel; it no longer seems to stand, to a Western audience at any rate, for African writing as a whole. His talent and success have helped spawn an array of postcolonial writing from across the continent. Among the talented young Nigerian writers alone who cite him as an influence are Chimamanda Ngozi Adichie, Adaobi Tricia Nwaubani and Lola Shoneyin.

In 1990 Mr. Achebe was paralyzed from the waist down in a car accident in Nigeria. The following year he gave an interview to Bradford Morrow in Conjunctions magazine.

Mr. Morrow asked him about the accident, and Mr. Achebe spoke about it with stoicism and good humor. “Children are born deformed,” he said. “What crime did they commit? I’ve been very lucky. I walked for 60 years. So what does it matter that I can’t for my last few years. There are people who never walked at all.”

“Things Fall Apart” is, at base, about the strength that human beings find in community. His car accident offered him similar lessons. “It is an opportunity,” Mr. Achebe told Mr. Morrow. “It’s a lesson. It’s so much. It is an enrichment. I’ve learned so much. I’ve learned how much we depend on each other.”

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Things Fall Apart: Theme & Key Quotes: Masculinity

Things fall apart: theme & key quotes: masculinity, theme: masculinity, definition and overview.

• Masculinity is a central theme in Chinua Achebe’s ‘Things Fall Apart’, and it is closely tied to the protagonist Okonkwo’s identity and view of the world.
• Masculinity in the novel is often linked to strength, aggression, and stoicism . Emotional display or any form of perceived ‘weakness’ is considered unmanly in Okonkwo’s society.
• The societal standards of masculinity in Umuofia have a deep impact on characters, driving their actions and decisions throughout the novel.

“Okonkwo told him that it was the male child’s right to give his name to his father. That was why such a child was called ‘Nwoye’, Father’s Belonging.”

• This quote establishes the traditional father-son relationship in Umuofia society, reinforcing patriarchal ideals and the importance placed on a male heir.

“The world has no time for cowards. When a man shuts his eyes and begins to quiver, the world moves on, leaving him behind.”

• Okonkwo reflects on the demands of bravery in his society. The quote highlights his belief that masculinity is tied to fearlessness and challenges, and that anyone who cannot meet these demands would be left behind.

“No matter how prosperous a man was, if he was unable to rule his women and his children (and especially his women) he was not really a man.”

• Here, masculinity is linked with the ability to control and rule , especially over women. Okonkwo views control as a fundamental aspect of manliness, reflecting the deeply ingrained gender hierarchies in his society.

“He heard Ikemefuna cry, ‘My father, they have killed me!’ as he ran towards him. Okonkwo drew his machete and cut him down. He was afraid of being thought weak.”

• This tragic scene shows Okonkwo’s fear of appearing weak overpowering his affection for Ikemefuna. It stresses the destructive effects of the societal standards of masculinity in the novel.

Studying these aspects of masculinity in ‘Things Fall Apart’ can enrich your understanding of the novel’s character development, social dynamics, and overriding themes. Looking at how each character deals with these ingrained expectations can provide deeper insight into Achebe’s perspective and critique of these norms.

Masculinity in Things Fall Apart

Things Fall Apart, written by Chinua Achebe, is a groundbreaking African novel that gives insight into the complex and frequently controversial concepts of masculinity and gender roles within an Ibo culture. The novel tells the story of Okonkwo, a proud and enormously respected member of the Ibo tribe who is deeply rooted in subculture and culture. As the novel progresses, Okonkwo’s experience of masculinity and his region inside his tribe and society is challenged and examined by the arrival of Christianity. The novel explores the typical thought of masculinity inside the Ibo subculture and how the arrival of Christianity challenges it. In the usual Igbo culture, masculinity is described through strength, power, and domination. Okonkwo is viewed as an image of this traditional masculinity and is revered for his energy and courage. He is now not afraid to take the danger and is unafraid to challenge those who oppose him. His power and courage are often considered a source of pleasure and respect inside the tribe.

However, when Christianity arrives in the Ibo tribe, Okonkwo’s feel of masculinity is challenged and tested. The Christian missionaries deliver a distinct notion of masculinity based on peace and humility. This new concept of masculinity is in stark distinction to the common Ibo masculine beliefs of strength and power. This new concept of masculinity conflicts with Okonkwo’s sense of identification and place within his tribe and society. Throughout the novel, Okonkwo is compelled to confront his inside conflict between his normal thought of masculinity and the new Christian notion of masculinity. He faces reconciling the two concepts and discovering his region inside his tribe and society. In the end, Okonkwo cannot reconcile the two principles, and his experience of masculinity is destroyed.

Things Fall Apart is a vital novel presenting a perception of the complicated and frequently controversial standards of masculinity and gender roles within an Ibo culture. The novel explores the standard concept of masculinity and how it is challenged and examined with the aid of the arrival of Christianity. Through Okonkwo’s hostilities to reconcile the two standards and locate his region within his tribe and society, the novel gives a vital lesson about the strength of identity and the significance of the perception of exclusive cultures.

Okonkwo’s masculinity is a source of pride and admiration among the Ibo people. He is a leader, a warrior, and a provider, and these characteristics are exceedingly valued with the aid of the Ibo people. His masculinity is rooted in the thinking of power and the potential to provide. He believes that energy and braveness are the most necessary features for a man to possess, and he strives to embody them in his actions. He is a self-made man, having labored tough to become one of the most respected and feared men in the Umuofia clan. He values challenging work and expects identical from his household and tribe. Okonkwo’s masculinity is also defined by his aversion to emotion and his ability to remain stoic in adversity. He is a man of few words; however, his phrases raise an exquisite deal of weight when he speaks. He is a man of action, not words, and can take decisive motion when necessary. He also no longer shows any emotion, as emotion signals a weak spot in the Ibo culture. This stoic nature approves Okonkwo to remain strong in the face of adversity and take integral steps to guard his household and tribe.

Okonkwo’s masculinity is a source of electricity and delight amongst the Ibo people. He is an example of how a man has to behave, and his instance is used to train the younger generations of Ibo guys on the importance of strength, courage, and difficult work. He symbolizes power and balance in the Ibo culture, and his masculinity is something to be admired. Okonkwo’s masculinity is an instance of how a man has to live his life. He values energy and challenging work and expects equality from his family and tribe. He does not show emotion now and is rapid in taking decisive motion when necessary. He is an image of electricity and steadiness in the Ibo culture, and his masculinity is something to be admired. Okonkwo’s masculinity is a supply of delight and admiration among the Ibo people and is a testament to his power and courage.

The arrival of Christianity in Umuofia was a major cultural shift for the tribe. Before the arrival of Christianity, the guys of Umuofia were anticipated to display strength, dominance, and courage. These were exceedingly valued qualities in the tribe and have been seen as the defining characteristics of a precise man. Okonkwo, the protagonist of Chinua Achebe’s novel Things Fall Apart, is an ideal example of this traditional view of masculinity. His friends admire him as a sturdy and effective man for his electricity and courage. However, the arrival of Christianity brings with it a new set of gender roles and expectations for the men of the tribe. Christianity presents a complete view of masculinity based on compassion and appreciation as an alternative to strength and dominance. This new view of masculinity is in stark distinction to Okonkwo’s regular view and affords a tough project for him to accept and embrace.

The Christian missionaries promote a view of masculinity based on humility, gentleness, and mercy. This starkly contrasts Okonkwo’s view of masculinity, which is based totally on energy and dominance. The missionaries also undertake Okonkwo’s standard appreciation of gender roles. They argue that guys and ladies are equal and be treated as such. This is difficult thinking for Okonkwo to be given and understand, as he has been raised to accept as true that men are top of the line to women. The Christian view of masculinity provides a hard challenge for Okonkwo and the other guys of the tribe. They have to figure out whether or not to be given the new view of masculinity or hold to the ordinary view they have recognized for generations. Ultimately, Okonkwo cannot take delivery of the new view of masculinity, and he struggles to reconcile the two views. He is unwilling to be given that there is a unique view of masculinity, and he finally chooses to hold onto the ordinary view of masculinity.

Despite the assignment posed via the Christian view of masculinity, the arrival of Christianity in Umuofia, in the end, has an advantageous effect on the tribe. The Christian view of masculinity encourages the guys of the tribe to be compassionate and understanding, traits that are indispensable for a prosperous and harmonious society. The Christian view of masculinity also encourages the men of the tribe to treat girls with admiration and to value them as equal participants in society. This is a nice step forward for the tribe and helps convey a more harmonious and just society.

Okonkwo’s conflict to reconcile the normal and the present day is further problematic using his interior warfare to hold his sense of Okonkwo’s trip of struggle to reconcile the typical and the modern forms a main part of the novel Things Fall Apart via Chinua Achebe. This is a ride of internal conflict. Okonkwo is forced to confront the reality that his typical view of masculinity may no longer be gorgeous daily in his society. Okonkwo’s normal view of masculinity is based on the concept that men should be strong, brave, and unafraid of taking risks. This usual view of masculinity is at odds with the new values of the Christian missionaries who have come to Umuofia. The missionaries price education, humility, and kindness, values that are now not in line with the ordinary view of masculinity that Okonkwo holds dear. He is compelled to confront the truth that his usual view of masculinity may no longer be suitable or usual in his society. Okonkwo’s battle to reconcile the usual and the cutting-edge finally leads to his downfall. It is a cautionary tale of the dangers of clinging too tightly to outdated notions of masculinity.

Things Fall Apart explains the complicated and often controversial principles of masculinity and gender roles within the Ibo culture. Through the story of Okonkwo, Achebe presents a glimpse into the struggles of reconciling typical and modern views of masculinity and the challenges of retaining one’s feel of identification and area within a changing society. The novel serves as a reminder that common views of masculinity may also not constantly be terrific or typical in the cutting-edge world and that we must be open to trade and new ways of thinking.

Chinua, A. (2021). Things fall apart.

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Patriarchy and Masculinity in Things Fall Apart by Achebe

Introduction.

The central theme of Things fall apart by Chinua Achebe is the clash between traditional African society and the innovations brought by British missionaries. However, this opposition is not the only one in the book since the whole story is built on contrasts that allow the reader to understand the protagonist’s image better. One of the foil characters in the novel is Okonkwo’s 15-year-old ward, Ikemefuna. This character significantly influences the reader’s perception of the protagonist’s personality, helping to highlight both the positive and negative traits of Okonkwo as a father.

Okonkwo’s Attitude Towards His Children

The protagonist is not inclined to show emotions except aggression and cruelty towards his children. However, the difference in Okonkwo’s attitude toward his son Nwoye and Ikemefuna remains obvious. The protagonist uses cruel methods of education for both boys. For example, when Ikemefuna refused to eat, Okonkovo ​​”came into the hut with a big stick in his hand and stood over him while he swallowed his yams, trembling” (Chinua, 1959). At the same time, except for the murder of Ikemefuna, there are no scenes in the novel in which Okonkwo beats the boy, while the protagonist regularly uses physical force against his son.

Moreover, thanks to Ikemefuna, the protagonist interacts with his son. He invites both boys to his ‘obi’ for dinner, but the takes only Ikemefuna to the meetings of the clan leaders. Moreover, Ikemefuna’s death affected Okonkwo much more than Nwoye’s betrayal. The aggravating factor was that the protagonist personally killed the boy, whom he considered his son. However, before that, knowing what fate awaits Ikemefuna, Okonkwo shows his paternal feelings by protecting the boy and “told him that he was to be taken home the next day” (Chinua, 1959). At the same time, he did not even explain to Nwoye why his friend was killed.

The Contrast in Protagonist and Ikemefuna’s Relationship with Nwoye

Another juxtaposition is embodied in the portrayal of Okonkwo and Ikemefuna’s attitude toward Nwoye, as both characters act as fathers to the boy. Nevertheless, in contrast to the protagonist, portrayed as an authoritarian father, Ikemefuna plays the role of an understanding father who “seemed to know everything” (Chinua, 1959). The protagonist does not deny that Ikemefuna taught Nwoye most of the things he knows how to do in the household. However, even realizing that Ikemefuna’s soft and gentle approach to Nwoye’s upbringing yields results, Okonkwo does not change his attitude towards his son.

Characters’ Static

At first glance, both characters seem static, and in the three years that Ikemefuna lived with Okonkwo’s family, he did not change. The character was initially described as “a very lively boy who gradually became popular in Okonkwo’s household” (Chinua, 1959). He retained these traits until the novel’s last appearance, and even going to his death remained a naive child. On the other hand, for Okonkwo, who from the very beginning seems to be a very static character, incapable of development, the death of Ikemefuna becomes the catalyst for subsequent changes.

Thus, minor male characters in the novel, including Ikemefuna, have traits opposite to the protagonist’s personality. Due to this, Okonkwo’s masculinity is perceived by the reader as brutal and cruel. However, at the same time, this foil character helps highlight the positive traits of the protagonist. Moreover, due to the secondary characters, the dynamics and development of the protagonist are depicted.

Chinua, A. (1959). Things fall apart. [eBook edition]. Anchor Books.

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Home — Essay Samples — Literature — Things Fall Apart — Okonkwo Vs Unoka

Okonkwo Vs Unoka

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