Chinua Achebe (/ˈtʃɪnwɑː əˈtʃɛbeɪ/; born Albert Chinụalụmọgụ Achebe; 16 November 1930 – 21 March 2013) was a renowned Nigerian novelist, poet, and critic, regarded as a central figure in modern African literature. His first novel, Things Fall Apart (1958), is a cornerstone of African literature and remains the most widely studied, translated, and read African novel. This novel, along with No Longer at Ease (1960) and Arrow of God (1964), forms the "African Trilogy." His other notable works include A Man of the People (1966) and Anthills of the Savannah (1987). While often called the "father of African literature" in the West, Achebe himself rejected this title.
Achebe was born in Ogidi, Colonial Nigeria, where his upbringing was shaped by both traditional Igbo culture and postcolonial Christianity. He excelled academically and attended the University of Ibadan, where he became critical of Western literature's portrayal of Africa. After graduating, he moved to Lagos and worked for the Nigerian Broadcasting Service (NBS). His 1958 novel, Things Fall Apart, garnered international acclaim. Over the next decade, he published four more novels with Heinemann, initiating the Heinemann African Writers Series, which boosted the careers of African writers like Ngũgĩ wa Thiong'o and Flora Nwapa.
Achebe sought to move beyond the colonial lens through which African literature was often viewed. Drawing from Igbo traditions, Christian influences, and the clash between Western and African values, he created a unique African voice. He defended writing in English, seeing it as a way to reach a wide audience, particularly in former colonial nations. In 1975, his lecture "An Image of Africa: Racism in Conrad's Heart of Darkness" became a landmark in postcolonial discourse, criticizing both Albert Schweitzer and Joseph Conrad for their racist views.
During the Biafran War (1967–1970), Achebe supported Biafran independence and acted as an ambassador for the movement, appealing for international aid. Disillusioned by Nigeria's post-war corruption and elitism, he eventually distanced himself from politics. A car accident in 1990 left him partially paralyzed, and he spent the remainder of his life in the United States, teaching languages and literature at Bard College for nineteen years. He won the 2007 Man Booker International Prize and served as Professor of African Studies at Brown University from 2009 until his death.
Achebe's work, which includes novels, short stories, poetry, essays, and children's books, has been widely analyzed, generating a vast body of scholarly literature. An Igbo chief, his writing style heavily incorporates Igbo oral traditions, blending straightforward narration with folk stories, proverbs, and oratory. His works explore themes such as culture and colonialism, gender, politics, and history. Achebe's legacy is celebrated annually at the Chinua Achebe Literary Festival.
In 1971, Chinua Achebe published his first book for children, titled "Chike and the River." The story is set in Nigeria and revolves around a young boy named Chike who dreams of crossing the Niger River. Here's a brief summary of the plot and themes:
Plot Summary:
Chike, the protagonist, lives in a small Nigerian village called Umuofia. He dreams of crossing the Niger River to visit Asaba, a big city on the other side. His desire to cross the river grows stronger as he listens to stories from travelers who come through his village. One day, Chike gets the chance to travel with his uncle to Asaba. During his journey, he faces various challenges and adventures. Ultimately, Chike learns valuable lessons about courage, determination, and the realities of life beyond his village.
Themes:
Exploration and Adventure: The central theme of "Chike and the River" is Chike's adventurous spirit and his desire to explore the unknown. His journey across the Niger River symbolizes the quest for new experiences and opportunities.
Dreams and Aspirations:
Chike's dream of crossing the river represents aspirations for a better life and broader horizons. It reflects the universal theme of pursuing one's dreams despite obstacles.
Cultural Identity:
The story is deeply rooted in Nigerian culture, portraying traditional practices, beliefs, and the significance of the Niger River in the lives of the people. It emphasizes the importance of cultural heritage and identity.
Coming of Age:
Through Chike's journey, the story explores themes of growing up, gaining independence, and learning from life's challenges. It depicts his transition from childhood to a deeper understanding of the world around him.
Literary Style:
Achebe's prose in "Chike and the River" is accessible and engaging, suitable for younger readers. He incorporates elements of Nigerian folklore and culture into the narrative, making the story both educational and entertaining. The language is vivid, descriptive, and evocative of the Nigerian landscape and traditions.
Reception and Impact:
"Chike and the River" has been well-received for its portrayal of Nigerian life and its themes of aspiration and cultural identity. It is appreciated both for its literary merit and its educational value in introducing young readers to African literature and culture.
Overall, "Chike and the River" exemplifies Achebe's commitment to showcasing African stories and perspectives, making it a significant addition to children's literature from the continent.
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Use of English During the decolonization era of the 1950s, a vigorous debate on language choice erupted, engaging authors globally. Achebe’s works are closely examined for their themes, insistence on non-colonial narratives, and utilization of English. In his essay "English and the African Writer," Achebe explores how colonialism, despite its negatives, bestowed upon colonized peoples "a language to converse with one another" across diverse linguistic backgrounds. His aim to communicate with readers across Nigeria led him to adopt "the one central language enjoying nationwide currency." Achebe also acknowledges that using English enabled his books to reach readers in the colonial powers.
Achebe acknowledges the limitations of what Audre Lorde termed "the master's tools." In another essay, he observes:
"For an African writing in English, challenges abound. Often, the writer finds himself describing situations or modes of thought with no direct English equivalents. Faced with this dilemma, he can either confine his expression within the bounds of conventional English or strive to expand those boundaries to accommodate his ideas [...] I argue that those capable of expanding the frontiers of English to accommodate African thought must do so through mastery of the language rather than naivety."
In another essay, Achebe refers to James Baldwin's struggle to accurately capture his experience in English and Baldwin's realization of the need to assert control over the language and reshape it. Achebe's novels laid the foundation for this endeavor; by altering syntax, usage, and idioms, he crafted a distinctly African style. This transformation sometimes manifests as the repetition of an Igbo concept in standard English phrases or as narrative asides integrated into descriptive sentences.
Themes In his early works, Achebe places significant emphasis on depicting Igbo culture itself. Critic Nahem Yousaf underscores the importance of these depictions, noting that "Achebe textualizes Igbo cultural identity around the tragic stories of Okonkwo and Ezeulu." It's not merely background, Yousaf adds, but an attempt by Achebe to present a precolonial reality as an Igbo-centric response to a Eurocentrically constructed imperial 'reality.' Some elements of Achebe's portrayal of Igbo life in Things Fall Apart overlap with those in Olaudah Equiano's autobiographical Narrative. Responding to criticisms that Equiano was not born in Africa, Achebe asserted in 1975: "Equiano was an Igbo, I believe, from the village of Iseke in the Orlu division of Nigeria."
Tradition and Colonialism At a time when African writers faced criticism for dwelling too much on the past, Achebe argued that in the face of colonial disparagement—denying Africans their humanity, intellect, and creative ability—the African narrative needed redemption. This redemptive narrative is rooted in a deep historical consciousness.
A prevalent theme in Achebe's novels is the intersection of African tradition (especially various Igbo traditions) and modernity, particularly through European colonialism. For instance, in Things Fall Apart, the arrival of white Christian missionaries violently fractures the village of Umuofia, exposing internal divisions. Nigerian English professor Ernest N. Emenyonu characterizes the colonial experience in the novel as the systematic dismantling of an entire culture. Achebe further explored this tension between African tradition and Western influence in Anthills of the Savannah through characters like Sam Okoli, the Western-educated president of Kangan. Unlike the character Beatrice, who reconnects with community myths and tales, Sam Okoli is distanced from them.
Colonial Impact In Achebe's novels, the colonial impact on the Igbo often manifests through individual Europeans, but equally through institutions and urban offices. In No Longer at Ease, the character Obi succumbs to corruption endemic to the colonial era in the city; the temptations of his position overwhelm his identity and resolve. Demonstrating his adeptness in portraying traditional Igbo culture in Things Fall Apart, Achebe reveals his skill in depicting modern Nigerian life in No Longer at Ease.
A common Achebean denouement involves the destruction of an individual, precipitating the downfall of the community. For instance, Odili's descent into the allure of corruption and hedonism in A Man of the People symbolizes the postcolonial crisis in Nigeria and beyond. Despite the focus on colonialism, Achebe's tragic endings reflect the traditional interplay of fate, individual, and society, akin to the works of Sophocles and Shakespeare.
Masculinity and Femininity Achebe frequently explores gender roles and societal perceptions of masculinity and femininity in his works. He has been criticized for presenting a seemingly uncritical portrayal of the patriarchal Igbo society, where the most masculine men take multiple wives and women endure regular beatings. Paradoxically, Igbo society values individual achievement while viewing ownership of women as a symbol of success. African studies scholar Rose Ure Mezu suggests that Achebe may have exaggerated gender binaries to make Igbo history accessible to global readers or to highlight the limited gendered perspectives of his characters. On the other hand, scholar Ajoke Mimiko Bestman proposes interpreting Achebe through womanism—an Afrocentric concept derived from global feminism—to analyze the condition of Black African women. This perspective acknowledges patriarchal oppression while celebrating African women's resistance and dignity, offering insights into Igbo concepts of gender complementarity.
In Things Fall Apart, Okonkwo's hyper-masculine identity dominates every aspect of his life, suppressing anything deemed "feminine," including his conscience. Achebe's depiction of the chi, or personal god, is sometimes referred to as the "mother within." Okonkwo's vehement rejection of his father's perceived weakness typifies the Igbo disdain for any man deemed unsuccessful, labeling them "agbala"—a term that signifies both a man without a title and, pejoratively, a woman. Okonkwo's obsession with masculinity is driven by an intense fear of femininity, evident in his physical and verbal abuse of his wives, violence toward his community, constant worry over his son Nwoye's perceived effeminacy, and lament that his daughter Ezinma was not born male. Despite the historical involvement of Igbo women in village leadership, women in the novel are portrayed as obedient and marginalized. Chapter fourteen highlights the theme of feminine balance, underscored by Ani, the earth goddess, and the concept of "Nneka" ("Mother is supreme"). Ekwefi, Okonkwo's second wife, epitomizes Igbo womanhood through her perseverance and love for Ezinma despite enduring multiple miscarriages. Mezu and literary scholar Nahem Yousaf view Okonkwo's downfall as a consequence of disregarding feminine principles. Bestman argues that Okonkwo's violent rejection of women's influence represents an exceptional rather than a normative stance within Umuofia and broader Igbo society.
Influence and Legacy Overview Chinua Achebe stands as one of the most influential figures in modern African literature, often dubbed the "father of African literature" and the pioneer of the African novel in English. Achebe rejected such labels as patronizing and Eurocentric, qualities his work aimed to critique. He dismissed the characterization, pointing out that those who called him such lacked a thorough understanding of literature from other African nations, both in indigenous languages and adopted colonial languages.
Achebe's impact extends beyond African literature; his seminal work Things Fall Apart is hailed as the most significant book in modern African literature and considered his masterpiece. With over 20 million copies sold worldwide and translated into 57 languages, Achebe holds the distinction of being the most translated, studied, and read African author. His legacy resonates deeply in literary circles worldwide, influencing not only African but also Western literature. Young African writers regularly seek counsel and inspiration from Achebe, whom they revere as their mentor.
Awards and Honors Chinua Achebe received more than 30 honorary degrees from universities across Nigeria, Canada, South Africa, the United Kingdom, and the United States, including prestigious institutions like Dartmouth College, Harvard, and Brown. Among his numerous accolades are the first Commonwealth Poetry Prize (1972), the Nigerian National Order of Merit, the Order of the Federal Republic (1979), and the St. Louis Literary Award (1999). Achebe was also honored with the Peace Prize of the German Book Trade (2002), the Man Booker International Prize (2007), and the Dorothy and Lillian Gish Prize (2010). In 1992, he became the first living writer to be included in the Everyman's Library collection of classic literature published by Alfred A. Knopf. Despite accepting many honors from the Nigerian government, Achebe declined the Commander of the Federal Republic award in 2004, citing concerns over Nigeria's political environment. He refused the same award again in 2011, stating that the issues he raised in 2004 remained unresolved.
Memorials and Recognition Bard College established the Chinua Achebe Center in 2005 to nurture talented writers and artists of African origin, aiming to create dynamic projects. Bard also instituted the Chinua Achebe Fellowship in Global African Studies. In 2013, Achebe received the title "Ugonabo" of Ogidi, a Nigerian chieftaincy, the highest honor in Igbo culture. His 86th birthday saw the inception of the Chinua Achebe Literary Festival in Anambra State. The University of Nigeria, Nsukka, unveiled a memorial bust of Achebe in December 2019,
affirming his enduring legacy and ongoing relevance.