Abstract
The study is a literary analysis of the images of the African woman in Buchi Emecheta's fictional works. Four texts that more exhaustively handle the issues surrounding the image and position of the African woman were selected.
The first section of the study is devoted to the writer and her works. Within this section a survey is done to demonstrate that the works of fiction under study have been greatly influenced by the author's own personal life experiences.
An exploration of Emecheta's main thematic concerns is then done. This study discusses particularly the themes that deal with the position and personality of the African woman. The study especially looks at the themes of motherhood, the enslavement, by tradition and man, of the African woman and that of liberation and the African woman's future.
The study proceeds to examine characters and characterisation in the texts under study. The central focus here is on the principle female characters because their integral position in the works is artistically purposeful. The primary female characters also help delineate particular themes that the artist wishes to portray. After an examination of the main characters, conclusions are arrived at: that Emacheta depicts the images of motherhood, the innocent African woman, a receptive and dynamic woman and lastly the educated and assertive one, best exemplified in Miss Bulewao of Double Yoke.
The study does an analysis of language use and style that Buchi uses and how they assist her to achieve her intended goals. It would appear, from the study, that Emecheta uses symbolism and irony to portray the painful reality of the African woman's position. She also uses the speeches of her characters to demonstrate how gender differences also mean differences in behavioural traits. The centrality of female characters, the use of linear plot patterns and the narrative method are also features of style discussed in this section.
Lastly, the study comes up with conclusions about images of women in Buchi's works. We conclude that Buchi Emecheta is sensitive to the position of the African woman. We also conclude that given her background and the fact that her socio-cultural orientation informs her creativity, then her perception of the issues revolving around the plight and position of the African woman is different from a male author's.
TABLE OF CONTENTS
DECLARATION...................................................................................i
DEDICATION.....................................................................................ii
ACKNOWLEDGEMENT....................................................iii
ABSTRACT............................................................................................1
INTRODUCTION...............................................................................3
CHAPTER ONE
The Writer and Her works................................................. 18
CH A PTE R TWO
Emecheta's Thematic Concerns.........................................28
CHAPTER THREE
Characterization.....................................................................44
CHAPTER FOUR
Language use and style........................................................57
CONCLUSION....................................................................................68
BIBLIOGRAPHY....................................................................72
INTRODUCTION
Statement of the Problem
The portrayal of the African woman in African Literature has been a matter of great critical interest. Some literary critics have argued that, with the exception of a few, male creative writers, who dominate African literature, have depicted the African woman negatively (Aidoo 1986, Davies 1986, Smith 1986, Busia 1986, Leslie 1987 and Chesaina 1987). The same critics single out three African male writers; Sembene Ousmane, Mongo Beti and Ngugi wa Thiongo, as the only African male writers who have attempted to portray women positively. Otherwise, in their view, African women have been presented as lesser beings; generally inferior to men,people who 'cannot think beyond the beds upon which they hide for the night' (Imbuga 1979).
The depiction of the African woman has been predominantly done with stereotypes. For instance, the Sweet- mother stereotype is relatively common in African literature. This image has a negative connotation that makes the African woman look the all accepting creature of fecundity and self-sacrifice. Such utopian figure is often-conflated with mother Africa with eternal and
abstract beauty (Leslie 1978:6). On the basis of this understanding, the foremost task of this study is to investigate how Buchi Emecheta portrays the African woman in her fictional works. We will attempt to answer the question whether or not she differs from male authors in her depiction of the African woman.
In a paper presented at the second African Writers' Conference Stockholm Sweden (1986) Buchi remarked that:
For myself... Being a woman and African bom, I see things through an African woman's eyes.
This assertion is a pointer to the crux of our study. In a way, Emecheta concurs with a number of views advanced by some critics in an attempt toexplain the dominant negative presentation of the African woman particularly by male creative authors. Perhaps, as the critics have speculated, male writers only observe the woman they do not have a chance of experiencing her plight at first hand. Thus, they are insensitive to her feelings about polygamy, wife beating, wife inheritance and many other aspects of the African woman's life. That is possibly why they do not address themselves to these issues in their works (Brown 1981, Taiwo 1984, Leslie 1987). On the basis of this contention, this study will concern itself with what Emecheta, as a female writer sees'through an African woman's eyes.'
For the purposes of our study, we shall zero on our focus specifically to the issues Emecheta handles that affect the African woman. After all, she said in the same forum (op.cit. 182) that:
Even if you don't tell me the name of the writer. I can always tell writing done by a woman. May be she has eyes to see more, where men are too blind to see.
The problem here that calls for this study's attention is What really does Emecheta as a female writer see that perhaps a male author may be 'too blind to see?' Within the scope of our study also is the question 'What does Buchi see about the African woman?
Research Premises
This study proceeds from the premise that a female writer's perception of issues is likely to differ from a male writer's. Elaine Showalter (1977) argues that the advent of female literature promises woman's view of life, woman's experience, in other words a new element. Make what distinctions you please in the social world. It still remains true that men and women have different experiences.
Showalter gives insight into our view that Buchi Emecheta being a woman, with the chance of experiencing the African woman's life, may present animage of the African woman different ly from that presented by male authors.
Writing in a largely patriarchal environment where the woman is not positively recognised, the African female writer has a number of responsibilities. The most crucial one though according to Lauretta Ngcobo (1986:151) is to Create a liberating literature that not only forgives women their mistakes but condemns men who take advantage of women and does not condone fallibility.
Ngcobo seems to say, in other words, that the African female writer should create a literature that pays attention to the socio-cultural position of the woman. This standpoint supports our hypothesis that a female writer may be sensitive to the plight of women in her society. Thus, there is a possibility that Buchi Emecheta may demonstrate her interest in the position and plight of the African woman.
Objectives of the Study
This study has three objectives: first, we want to investigate how Buchi Emecheta presents the African woman. Second, we intend to find out whether or not Buchi Emecheta, being a female writer, is sensitive to the socio-cultural position of the African woman. Lastly, we aim at examining the issues that surround the position and personality of the African woman that Emecheta presents.
Justification of the Study
There is paucity of criticism specifically focused on African female writers although they have contributed to African written literature. Lloyd- Brown (1981) argues rightly, that interest in African literature has, with very rare exceptions excluded women writers. She continues to say that the women writers of Africa are the unheard voices, rarely discussed and seldom accorded space in the repetitive anthologies and the predictably male oriented studies in the field. This dearth of critical interest in works by female artists has hampered the development of African women's creativity. Ama Ata Aidoo, one of Africa's most prolific female writers contends that it is especially pathetic to keep on writing without having any consistent active critical intelligence that is interested in you as an artist and creator (1986): 158). This study hopes to make a contribution towards building criticism on African female creativity.
Being a critical focus on a female writer, this study will promote creativity, particularly of African female writers. Writing is a form of communication. The creative writer and critic engage in a dialogue. A critical examination of a writer avails a response to the creative writer which will help enhance his/her creativity.
The claim that African literature is a male^dominated male-created chauvinistic art is altruism. Collections of critical essays, M.A and Ph.D theses have largely been covering male artists (Moga 1992, Imbuga 1991, Machayo 1992 Kamau 1992 etc) but for a few isolated cases even researches in African Oral literature have negated the existence of female oral artists who in any case form a substantial part of the whole world of oral creativity. It is time, therefore, literary researches were focused on female artists. The long deferred 'woman question of literary studies can no longer be dismissed (Robert Davies 1986). The study of Buchi Emecheta's fictional works in this respect are intended to build criticism of African women writers because they have contributed significantly to the understanding of the African society.
Of all women writers in contemporary African literature , Buchi Emecheta of Nigeria has been the most sustained and vigorous voice of direct feminist protest (Brown 1981:151). Yet but for a few critical essays that focus on her individual works. Buchi has not been very seriously studied. Her works have not been critically examined as a consistent output of an assertive contemporary artist in her own right. At times her individual works have been shodily compared to other artists'. This study is of considerable import since it will undertake to fill the gap created by the absence of critical attention to Buchi Emecheta who is a prolific female writer. Since we intend to study how Buchi uses images of women to communicate her ideas, this research will be a worthwhile contribution to literary criticism in general particularly on the study of characterization as a form of communicating themes.
In a literary tradition pervaded by dominant male presentation of female, it is inspiring to study a female artist like Buchi Emecheta so as to learn the female presentation of a female personality. After all the personality and inner reality of African women have been hidden under a heap of myths so- called ethnological theories rapid generalisations and patent untruths that it might be interesting to study what they have to say for themselves when they decide to speak (Ojo-Ade 1983:151). Thus the study is timely and important in so far as it will attempt to concern itself with the woman's response to what has been written on African women, the African woman's side of the story.
Theoretical Framework
This study intends to proceed from the framework of the sociological approach to the study of literature. Sociologically oriented approaches to literature are viewed differently. One view is that literature and literary criticism are conditioned by social relationships (Williams 1977 and Brandbury 1971). A sociological approach to the study of literature also holds that literature is a form of sociology from which data which is not available to the sociologist can be obtained (Joan Rockwell 1974) on this view literature is a direct reflection of various facets of the social structure, family relationships, class conflict, possibly divorce trends and population composition. Also, it is held by the sociologically oriented conceptions of literature that literature may affect social change (Leon Trotsky 1960).
Within the province of the sociology of literature, it is understood that society is the wellspring of literature. This school mainly emphasises the examination of the social events that affect literary production. It also encapsules the view that literature manifests social facts and contradictions. These contradictions may be of an economic nature as well (Ruth and Wolff 1956). Lastly, the sociological approach to the study of literature conceives of literature as a social product as well as a social force that affects society and is continually involved in the process of development (Williams 1977: Jean - Paul Sartre 1948).
Upon the background of the foregoing statements, we shall study Buchi Emecheta's fictional works with the view that as Chinua Achebe (1988) argues, the writer and her/his society live in the same place. Therefore the events that take place in society affect her/him as well. The developments that take place in society form the raw materials for the writer's works. The artist here is expected to mirror the reality of his/her society. We will study Buchi Emecheta's fictional works as the reality of her society and in so doing examine the image of the African woman she presents as the real figure of the African woman.
However, the individuality of the literary artists should not be forgotten. This has been catered for in the sociological approach to the study of literature. One is thinking here of the fact that the writer cannot live up to the expectation
4
of presenting the whole spectrum of society. After all the writer comes from a particular class and race and nation (Ngugi 1981:6). The more deeply an artist penetrates into his art the more he has penetrated into the genius of his age and race (Taine 1966). Thus the artist will only present the reality she/he views from her/his social group. In this respect therefore we shall study Buchi Emecheta's works as a presentation of social reality, particularly the image of the African woman, from a woman's perspective. More so, it is imperative to note that Emecheta could be presenting the reality of her class and her gender.
The sociological approach to the study of literature alongside the recognition of the artist's individuality holds on to the perception of the writer as playing a functional role (Nazareth 1978: Gugelberger 1985: Achebe 1988 and Ngugi 1981). The artist becomes a speaker, he designates, demonstrates, orders, refuses, interpolates, begs, insults, persuades, insinuates (Jeam Paul Sartre 1948:) In this respect, the artist plays a pedagogical role, he/she educates society. The writer observes and interprets the norms, the val ues and the customs of society he or she negates or affirms those values according to his/her personal convictions. In this way he/she creates or destroys social values (Aidoo 1986:150). Thus we will study Buchi Emecheta also as the artist's own apprehension of reality and her criticism of what she does not support or affirmation of what she feels is positive.
In all these, it is of considerable importance to note that the creative writer plays a revolutionary role. He/She observes society carefully and in commenting about any issue seeks to offer his/her audience better views or alternatives. Thus, Buchi Emecheta as a female writer is expected to go far beyond just presenting the image of the African woman. She is expected to offer criticisms on what has so far been painted of the African woman. She might offer a better image of the African woman.
Form and content are inseparable in literature. (Ngara 1987). It is
%
noteworthy therefore that whereas we are interested in the ideas, the contents, of Buchi Emecheta's works, we should not fail to take cognizance of the artistic aspects of the works. In order to communicate the artist chooses a convenient style, suitable for his/her message. Literary texts are again works of art. This contention will underlie our interest in Buchi's style or manner of communication.
SHARE THIS PAGE!