A Dance of Forest

About Author

Wole Soyinka is a Nigerian playwright, poet, novelist, and essayist. He was born on July 13, 1934, in Abeokuta, Nigeria. He was the first African to win the Nobel Prize in Literature in 1986, recognized for his literary works that blend Yoruba mythology and Western culture. Soyinka has written over 20 plays, several novels, and numerous essays and poems, addressing political and social issues in Africa. He has been an activist and has been imprisoned several times for his activism against military regimes in Nigeria. Soyinka has taught at several universities in the US, UK, and Nigeria, and has received numerous awards for his contributions to literature and human rights

1)Write a proposed alternative end of the play 'A Dance of the Forest' by Wole Soyinka.

For this answer I will refer one article written by  Robert Fraser. he discuss  a  proposed alternative end of the play 'A Dance of the Forest' by Wole Soyinka.

Wole Soyinka's satirical play "A Dance of the Forests" concludes on a dark, ominous note, as the ancestors depart having condemned humanity for past sins and lacking any hope for the future. In his article, Robert Fraser explores four hypothetical alternative endings proposed by various literary critics over the years that aim to provide a more optimistic resolution.

The first alternative explored is proposed by critic James Booth, who suggests an ending where the ancestors surprise the human characters by forgiving them their weaknesses and contradictions. In this version, the ancestors take on a more understanding tone, acknowledging that while humanity is flawed, there is still hope for growth and the future. Booth contends that this ending would better align with Soyinka's humanist outlook.

Fraser notes that while this proposed ending does offer a more uplifting conclusion, it undermines key elements of Soyinka's critique of post-independence Nigerian society. The original ending conveys the ancestors' deep disappointment with the unfulfilled promise of independence, and an easy forgiveness would soften this blow. Nevertheless, Booth's version does attempt to extract a hopeful message from the play's moral complexity.

The second alternative ending examined comes from Gerald Moore, who imagines that the ancestors end up inspiring and energizing the human characters to action before departing. In this version, the ancestors shock the complacent community members out of their malaise, compelling them to work towards positive change and social progress.

Moore's ending better preserves Soyinka's societal critique, while still injecting some optimism. However, Fraser points out that this conclusion rests on the assumption that the ancestors have an inherent wisdom that the living have lost. This assumption contradicts Soyinka's more nuanced portrayal of the ancestors as flawed and contradictory themselves.

The third proposed ending comes from critic Derek Wright, who envisions a conclusion where the human characters reject the ancestors' condemnation and fight back against their pessimistic pronouncements. The characters stand up for themselves and the future generations, defending humanity's capability for progress.

Of the hypothetical alternatives, Fraser seems most sympathetic to this defiant vision, noting that it stays true to the play's clashing perspectives on past and present. However, he observes that the actual human characters may lack the strength and courage to mount such an audacious revolt against the imposing ancestors.

The final alternative comes from Biodun Jeyifo, who suggests an open-ended conclusion where the ancestors disappear into the forest, while the village inhabitants dance, signifying their determination to live and thrive despite unresolved tensions. This version embraces ambiguity and uncertainty rather than a clear-cut ending.

Fraser argues this conclusion evokes the enigmatic spirit of the forest itself and Soyinka's poetic sensibility. The play's central questions remain unanswered, just as the forest's mysteries stay intact. However, the ambiguous ending fails to fulfill Soyinka's satirical aims with the play.

In the article's conclusion, Fraser contends that Soyinka likely found the original ending creatively necessary, as it aligned with his sober vision and critique of post-independence Nigerian society. The proposed alternatives offer more hopeful takes on humanity's future, but sacrifice some of the play's complexity. Fraser sees value in exploring creative alternatives, while asserting that Soyinka's true ending remains powerful and profound despite its bleakness.

In examining these four hypothetical endings, Fraser provides illuminating analysis of how different interpretations of Soyinka's work would necessarily lead to divergent artistic choices. His thoughtful discussion highlights the richness of possibilities within this canonical play, while also reaffirming the integrity of Soyinka's original creative vision. The analysis invites readers to re-examine and re-imagine a modern literary masterpiece from multiple perspectives.

2) Write a note on the play 'A Dance of the Forest' by Wole Soyinka

Wole Soyinka's classic play "A Dance of the Forests" is considered a seminal work in the canon of African and Black diasporic literature. The play wrestles with weighty themes around African history, society, spirituality, and humanity's flaws through an ambitious mix of satire, poetry, music, and Yoruba mythology. Since its premiere in 1960, literary critics and scholars have explored diverse interpretations of the play's complex narrative layers and symbolism. 

Many analyses focus on Soyinka's critical portrayal of Nigerian society at the dawn of independence. The play satirizes the unfulfilled promise of the newly independent nation, as the ancestors return to find moral decay and social inequality rather than utopian progress. Critics see the play as a sobering interrogation of the present through the lens of the past. Some scholars also examine the play's critique of Negritude, the movement to proudly embrace African culture and aesthetics. Soyinka suggests that romanticizing the past risks obscuring hard truths and modern complexities.

The play's unconventional dramatic structure has provoked much commentary. Some critics argue that the nonlinear plot, blending of performance genres, and abstract allegory make the play avant-garde and modernist. Others contend that the communal village setting and integration of Yoruba rituals align the work more with theatrical traditions. Many explore how form reinforces the thematic tensions between past and present, linearity and cyclicality. 

The symbolism of the enigmatic forest as a spiritual metaphor for Africa's history has also inspired critical analysis. The forest represents the living continuity of the past amidst modern disruption and serves as a mystical site of rituals invoking cultural memory. Soyinka evokes the splintering of tradition and community bonds through the forest's fragmentation and the ancestors' confused states.

The satirical portrayal of the ancestors is another rich element for interpretation. Critics see the ancestors representing African authoritarianism, hypocrisy and internalized racism in addition to spiritual traditions. Their pompousness and cruelty towards the living satirize the failure of previous generations to build a just society. Scholars have examined how Soyinka uses the ancestors to critique the present through an imagined dialogue across time.

The ambiguous, ominous ending where the ancestors withdraw after condemning humanity has provoked extensive critical discussion. Some consider it a fitting conclusion to Soyinka's somber social critique, while others propose more hopeful alternatives that allow for redemption. The stark finale highlights interpretive debates over whether the play offers any optimistic vision for African futures. 

Many scholars have explored the work's literary and philosophical connections to existentialism. They find parallels in its absurdist elements and focus on human responsibility in an indifferent, chaotic universe. Soyinka's existentialist outlook informs the play's unsparing examination of human morality and society.

Overall, critical analysis illuminates how Soyinka creatively fused literary experimentation, Yoruba folklore, and social satire to craft a complex masterwork grappling with Africa's history and humanity's flaws. The play's interpretive richness, unconventional structure, and unresolved tensions have inspired critics to offer diverse interpretations of this modern classic over decades of study. Whether read as a satire, a tragedy, an existentialist work, or an avant-garde experiment, "A Dance of the Forests" remains a pivotal text with profound insights into the postcolonial African condition.

The Ministry of Utmost Happiness

  How is the intertextual references to other writers in the novel connected with the central theme of the novel? [also mention the epigraphs in English & Hindi]

I mean, it's all a matter of your heart...(यानी सारा मामला दिल का है...)

Nâzim Hikmet

In the preamble to the opening chapter titled "Where Do Old Birds Go to Die?", Arundhati Roy references a poignant line from Nâzim Hikmet's poem "On the Matter of Romeo and Juliet." Through this, Roy intricately weaves together the narratives of Romeo and Juliet with the Arabo-Persian tale of Laila and Majnun, illustrating the fluidity of stories and cultures across geographical borders. She illuminates the mutual inspiration between authors from disparate backgrounds, transcending imposed boundaries and notions of cultural superiority.

Within Roy's narrative, the character Anjum deftly manipulates language, subtly alluding to her gender identity while advocating for inclusivity. Anjum's cemetery emerges as a sanctuary for those marginalized elsewhere, starkly contrasting with the segregated burial grounds often found in India—a poignant irony that underscores the shifting landscapes of acceptance and exclusion. Symbolizing a bygone era of diversity and inclusivity, Anjum's cemetery stands as a testament to India's pluralistic past.

In what language does rain fall over tormented cities? (बारिश किस भाषा में गिरती है यातनाग्रस्त शहरों के ऊपर ?)

Pablo Neruda

Preceding the third chapter titled "The Nativity," Arundhati Roy draws upon a quote from Pablo Neruda, a poet who confronted exile and faced allegations of assassination during Pinochet's regime. This quote resonates with the defiant funeral procession that followed Neruda's coffin, despite Pinochet's refusal to authorize a public funeral. Such acts of resistance parallel the fervent protests witnessed during the burial ceremonies of Kashmiri martyrs depicted in Roy's narrative. These burials stand as poignant protests against the apathy of occupying forces, who often leave corpses unattended along the Line of Control in Kashmir.

Expanding beyond the confines of Kashmir, the novel delves into themes of mourning and the treatment of the deceased, symbolized by the tragic decline of vulture populations and the plight of Untouchable cow skinners at the hands of Hindu mobs.

Roy's choice to quote from Neruda's final work, "Libro de las Preguntas" (The Book of Questions), particularly focusing on a query regarding rain falling upon tormented cities, mirrors the torment vividly depicted across India's diverse landscapes. This meticulous attention to language and varied cultures permeates Roy's narrative style, which incorporates formal experiments such as mock multiple-choice questions and passages reminiscent of reading comprehension exercises.

Then, as she had already died four or five times, the apartment had remained available for a drama more serious than her own death. (क्योंकि वह पहले चार या पाँच बार मर चुकी थी, अपार्टमेंट उसकी मृत्यु से भी ज़्यादा गंभीर किसी नाटक के लिए उपलब्ध था।)

Jean Genet

Before the 8th chapter titled 'The Tenant,' Arundhati Roy cites a quote by Jean Genet, the renowned author of "Notre-Dame-des-Fleurs," penned during his imprisonment in 1942. Despite initial surprise, numerous parallels exist between Genet's literary universe and "The Ministry of Utmost Happiness." Genet's tumultuous life, his prison experiences, activism for marginalized groups, and narrative experimentation strongly resonate with Roy's themes and narrative style. Roy's novel, like Genet's work, embraces complexity and defies categorization, blending genres and perspectives to create a rich tapestry of storytelling that challenges traditional norms.

2) What is the symbolic significance of Vulture and Gui Kyom (Dung Beetle) in the novel?

By referring these two Vulture and Gui Kyom in the novel Roy tries to give us a look towards the world which we never might have thought to look at. She uses the references which normally don't see in the novel anywhere for giving a message.

In "The Ministry of Utmost Happiness," these two have special meanings:

1. Vulture:

In the novel, the vulture serves as a powerful symbol of death and destruction, often appearing in scenes of violence or aftermaths of disasters such as riots or natural calamities. Through the vulture's role as scavenger, the interconnectedness of life and death is starkly highlighted, emphasizing the harsh realities of existence and humanity's capacity for cruelty. Additionally, the novel underscores how those in positions of power may exploit others' suffering for their own gain, paralleling the vulture's opportunistic feeding on carcasses.

Moreover, the narrative delves into the ecological impact of human actions on vulture populations. Specifically, it addresses the detrimental effects of pharmaceutical products administered to cattle, which subsequently harm vultures that consume contaminated carcasses. This ecological imbalance is portrayed as a significant consequence of human negligence and exploitation of natural resources.

Dr. J. Lindsay Oaks, an expert in veterinary medicine, underscores the severity of this ecological damage, highlighting it as an unprecedented case resulting from pharmaceutical pollution. This incident prompts broader concerns among scientists and environmentalists regarding the widespread contamination of the environment by pharmaceuticals, signaling a pressing need for greater awareness and accountability in managing ecological health.

2. Gui Kyom (Dung Beetle): 

Gui Kyom, the dung beetle, is different from the vulture. It stands for strength and change. Dung beetles are known for turning waste into something useful, like making soil richer for plants to grow. In the story, Gui Kyom is linked with Anjum, a transgender woman who finds beauty in unusual places. This shows that even in tough times, there's still hope and a chance for things to get better.

These animals in the book help us understand big ideas like life, death, and how society works. The vulture reminds us of the hard parts of life, while Gui Kyom gives us hope that things can improve, even when they seem tough.

3) Instead of privileging the center stage, "The Ministry of the Utmost Happiness" shifts the spotlight to the back alleys and hidden corners, granting agency to those typically relegated to the sidelines. Analyze how Roy's decision to center the periphery enriches our understanding of social, political, and existential realities often ignored by mainstream narratives.

Arundhati Roy's novel "The Ministry of Utmost Happiness" stands out for its focus on individuals often overlooked or marginalized in conventional narratives. Rather than centering on the most prominent or celebrated figures, Roy intricately weaves the stories of those typically relegated to the sidelines—such as transgender individuals, hijras, and Dalits—into the fabric of her narrative. In doing so, she emphasizes the importance of every person's experiences and underscores the diversity inherent within society.

By spotlighting these marginalized groups, Roy delves into significant social and political issues. Through the perspectives of her characters, she addresses themes such as caste-based discrimination, religious tensions, and the abuse of power by societal elites. By interconnecting these narratives, Roy illuminates the interconnected nature of these systemic problems, showcasing how they perpetuate and exacerbate one another. Through her storytelling, readers gain insight into the underlying mechanisms of societal structures and the unequal distribution of opportunities and resources.

Furthermore, Roy explores the complexities of identity and belonging, particularly among characters who navigate multiple social spheres and face ostracism from mainstream society. Her characters grapple with questions of self-perception and societal acceptance, challenging normative notions of identity and belonging.

For instance, Anjum's journey as a transgender woman carving out her place in a cemetery community in Delhi exemplifies the resilience and agency of marginalized individuals amidst societal prejudice and violence. Similarly, Tilo's involvement in political and social movements sheds light on broader issues such as religious tensions and political corruption, reflecting the turbulent landscape of contemporary India.

Roy also delves into the lives of hijras, providing insight into their customs, struggles, and efforts to gain societal recognition and respect. Through their stories, she portrays the hijras as symbols of defiance and resistance against rigid gender norms and societal expectations.

Additionally, Roy confronts the contentious Kashmir conflict, presenting diverse perspectives on its human toll and the complexities of identity and allegiance in the region. Through the voices of Kashmiri militants and civilians, she unveils the profound impact of political strife on individual lives and communities.

These examples underscore how "The Ministry of Utmost Happiness" amplifies the voices of marginalized characters, offering a multifaceted exploration of the social, political, and existential realities they confront. Roy's narrative challenges prevailing narratives and fosters a deeper understanding of the diverse tapestry of Indian society.

Gun Island

Que:-1 How does this novel develop your understanding of a rather new genre known as 'cli-fi'?

Climate fiction, or cli-fi, is a form of speculative fiction that features a changed or changing climate as a major plot device. People have been unwittingly writing cli-fi stories and novels for decades, though the term came into heavy usage in the past 10 or so years. The genre frequently includes science fiction and dystopian or utopian themes, imagining the potential futures based on how humanity responds to the impacts of climate change. Rationales for the genre typically assume knowledge of anthropogenic effects on the human-altered climate as opposed to weather and disaster more generally although broader definitions exist. Technologies such as climate engineering or climate adaptation practices often feature prominently in works exploring their impacts on society.

Gun island is sequel to The Hungry Tide by Amitav Ghosh. The novel Gun island opens with the character Dinanath who came to Calcutta to spend his vacation. When he went to meet Nilima Bose and came to know about the story of Mansa devi, when he visited the shrine he got a new way of life. Amitav Ghosh put Deen in place of a Gun merchant of the Seventeenth century. In the novel Deen follows the steps of Gun Merchant and find many new facts of Nature and connection between past and present.

In the novel there are many characters who tried to escape from nature but somehow they got into trouble through nature. Characters like Tipu and Rafi who decided to migrate because they don't have enough opportunity in Sunderbans but somehow they get involved in trouble related to nature. In the novel there is reference to Bhola cyclone, the worst cyclone Sundarbans have ever faced. Through the character of Piya, Ghosh points out that the chemical fertilisers that humans are using can reduce the oxygen level of the water. The small organisms in the different water bodies cannot survive with low oxygen. Hence, mass number of water organisms would die and also the whole areas would affect the ocean, that becomes "Oceanic dead zones". Because of raising temperature of Earth, insects find difficult to adapt with the climate conditions. Bark beetles are insects which are lived by eating the leaves of the trees. But, in the mountain areas, those kinds of beetles are rare, which even eat up the whole tree for survival. That generates "a long drought" and "a huge wildfire".

In the novel there are many references of natural calamities like, flood in Sundarbans and Venice, Wildfire in Los Angeles, Climate change. Like Rafi and Tipu, there is another young pair attempting to escape from their original place-Bilal and Kabir. Bilal is the friend of Rafi. One and the other are working in the same spot in Venice. Because of the family circumstances, Bilal leaves Bangladesh along with Kabir. They get the Emirates with the help of relatives. Similar to Rafi and Tipu, they are also under the guidance of dalal; they are given instructions all the time.

Indeed, Gun Island acknowledges that there might still be hope for a better tomorrow. Ghosh writes, “The possibility of our deliverance lies not in the future but in the past, in a mystery beyond memory.”

Que:-2 How does Amitav Ghosh use the myth of Manasa Devi to create the myth of a Gun Merchant ('Bonduki Sadagar') and initiate discussion on the issue of Climate Change and Migration/Refugee crisis / Human Trafficking?

In Amitav Ghosh's "Gun Island," the character of Manasa Devi, is first introduced through a conversation between Kanai Dutt and Deen. The two discuss the myth of Chand Saudagar, which serves as a central thread weaving together the novel's various themes. Through this myth, Ghosh draws parallels between the Little Ice Age and our current reality, where natural disasters such as droughts, floods, cyclones, wildfires, and epidemics have become commonplace. The novel posits that these catastrophic weather events are primarily due to unprecedented climatic changes caused by human activity.

Manasa Devi, the goddess of snakes and firearms, is an essential figure in the novel as she embodies the destructive and transformative powers of nature. She represents the intersection of human and natural agency, and her presence underscores the idea that humans are not separate from nature but are, in fact, integral components of it. The novel suggests that we must take responsibility for the impact we have on the environment and take action to mitigate the effects of climate change.

In "Gun Island," Ghosh masterfully interweaves the mythical with the contemporary, using elements of magical realism to explore urgent environmental concerns. The novel's rich and evocative language, combined with its thought-provoking analysis of the intersection of myth and reality, make it a must-read for anyone interested in the relationship between literature and environmental activism.

In "Gun Island," Deen is initially dismissive of the myth of the Gun Merchant after hearing it from Kanai. However, after attending a conference in Los Angeles and being inspired by Cinta's speech, Deen decides to travel to Venice to investigate the myth further. Along the way, he uncovers the history behind the myth through his exploration of the places associated with it.

The theme of migration is a significant aspect of the novel, with various characters having migrated for different reasons, including natural disasters, violence, poverty, and seeking a better life. Through Deen's conversation with Horen Naskar, it becomes clear that the Gun Merchant may have been motivated by similar reasons to those of other characters in the book. The novel provides a complex and nuanced exploration of the reasons behind migration, highlighting that there is no single reason why people choose to leave their homes and start anew elsewhere.

“the disaster that had forced the Gun Merchant to flee his

homeland: a drought so terrible that the streams, rivers

and ponds had dried up and the stench of rotting

fish and dead livestock had hung heavy in the air.”I

In the novel, the primary characters are academics who specialize in the study of various animal species. Piyali Roy's research focuses on dolphins, while Lisa's area of expertise is bark beetles and Larry's is spiders. Through their work, the novel delves into the lives of these animals and how they are being impacted by climate change.

The presence of snakes, spiders, and shipworms in Venice is also highlighted, offering a unique perspective on how these creatures are adapting to their changing environment. This serves as a reminder of the far-reaching effects of climate change and the importance of ongoing research and exploration.

Overall, the novel provides an in-depth look into the animal kingdom and how they are being impacted by climate change, emphasizing the need for continued efforts to understand and mitigate its effects.

“‘Larry says this is the first time he’s heard of one turning up so far north. But he’s not surprised either. He says the brown recluse has been increasing its range very quickly because it’s getting so much hotter in Europe. And there’s a related species, the Mediterranean recluse, that’s already widespread across Italy.” It gives us the effect of climate change on animals and their migration into the world."

The novel's use of the myth of the Gun Merchant to explore topics such as climate change, migration, and human trafficking is both creative and thought-provoking. The book's characters and their experiences offer a nuanced perspective on these issues, highlighting their complexity and the far-reaching impact they have on individuals and society as a whole. Overall, Gun Island is an engaging and insightful read that encourages readers to reflect on their place in the world and their role in shaping its future.

Que:- 3 What are your views on the use of myth and history in the novel 'Gun Island' to draw the attention of the reader toward contemporary issues like climate change and migration?

The author's use of mythical elements and historical context in the novel creates a captivating story that resonates with readers on an emotional level, making the novel's themes more impactful and memorable. Myths and legends have a universal and timeless quality that makes them an effective tool for storytelling. By incorporating these elements, the author creates a story that draws readers in and encourages them to reflect on the novel's themes. The use of history in the novel provides a deeper understanding of contemporary issues, making the themes more relevant and meaningful. This strengthens the connection between the reader and the narrative.

The East is a cultural mosaic of myths and legends that are interwoven into the lives and beliefs of its people. These stories of gods and heroes hold a significant place in the Eastern imagination, and evoke strong emotions. When contemporary issues are presented straightforwardly, people in the East may struggle to grasp their importance. However, by incorporating mythological elements, the material becomes more captivating, providing a unique and insightful perspective. By blending myth and reality, the reader gains a deeper understanding of the subject matter and a more engaging reading experience

For individuals who seek a logical and thorough comprehension of the world, a historical basis serves as a strong foundation for understanding. Through analyzing past events, we can gain insight into the present and make informed choices for the future. Integrating mythology and history is an effective approach for examining the intricacies of our world, offering both substance and perspective to modern issues.

The Joy of Motherhood

 “The title of Emecheta's novel is patently ironic, for it would seem that there are few joys associated with motherhood after all.” Explain.

Introduction

Florence Onye Buchi Emecheta finds a place among the eminent female writers of postcolonial Africa. She novelized the effects of colonization and the oppression faced by women in the African society. Her novels in general represent the changing scenario where women stand on their own terms for gender equality and oppression in contrast to the images of African women illustrated by African male writers. The Novel “The Joys of Motherhood” reveals not only how women exist and live their lives in the past and present but also the struggles women faced in post-colonial Africa and native Nigeria. The Novel cannot be simply read as a story of Nnu Ego’s the protagonist struggle in the African patriarchal society it should be read with its colonial context which was introduced by the colonizers to understand ‘How’ women are treated and to what extent they were given importance in the African society. As one reads “Joys of Motherhood”, one will understand that the protagonist Nnu Ego’s problems are not simply because of the native patriarchal society but because of the grudging colonial structure created by the colonizer rule, in which she lives.

To understand the author’s perspective the reader must read the novel with certain degree of postcolonialism. The Novel uniquely examines the story of the woman who is caught between the traditional Ibo culture and colonization. Buchi addresses the issue of marriage and motherhood by concentrating on women discrimination in traditional Nigerian Ibo culture and society. According to Marie A. Umeh, “The Joys of Motherhood is a study of victimization and enslavement of traditional Ibo women to the dictates of traditional Ibo Culture.”

 Motherhood in the Novel

Buchi Emecheta establishes in The Joys of Motherhood that the love that binds a mother to her child is a form of bondage from which the mother cannot escape till her death and that bond shall keep her in a situation that excludes any freedom or self-development. Throughout the novel the reader will read dialogues where women discuss about “The Joys of Motherhood” and the word motherhood comes across very often in the novel as motherhood is seen as the most important thing in their social beliefs and customs. The reader while reading could surely construct an image about Women of Nigerian Ibo culture that in Nigeria, a woman without children is one way or another incomplete and the only available way a woman can claim her individuality is by begetting children and enjoying the “Motherhood”.

Though the reader learns from the very opening of the novel that Nnu Ego the protagonist is severely dependent and determined, Emecheta tenderloins that opinion in the novel by conflicting it with her complete belief that in Africa woman without children is incomplete. Emecheta even strike at the foundations of the understanding of the protagonist by narrating us of her fights throughout her motherliness and her struggles in the city after marriage. The title stands ironic when the women’s ultimate signifier continues to remain to achieve “motherhood” rather than enjoying motherhood. In fact, the irony involved in the novel in narration is unequivocally essential for understanding the novel and the impression of “Joys of Motherhood”.

The closing lines of the novel finally elucidates the irony that the title of the novel carries in it: “She died quietly there, with no child to hold her hand and no friend to talk to her. She had never really made many friends, so busy had she been building her joys as a mother.” According to the belief Nnu Ego’s motherhood should have brought her happiness but then in reality her motherhood that was intended to give her “Joy” did not ripe and only at the end in her death the protagonist receive some ‘recognition’, “She [was given] the noisiest and most costly second burial”, . As Semenya says “In Joys of Motherhood Emecheta strives to sensitize the readers to the exploitation of mothers. With increased mastery of structure and irony, she describes the humiliation and small joys of a poor, unappreciated Ibo mother. Emecheta analyses the state of mind of women valued for biology rather than their individuality.” Nnu Ego while living with her parents she at least “enjoyed” and had some affiliation to her ancestral patronage.

She was literally protected by her culture and she had the protection of her family and was given right to her father’s protection and patronage. The term “brothers” is common in the traditional rural life where everyone shall sense the feeling of being protected by the patriarchal system, though the traditional patriarchy enslaves women in one form or the other it also provides protection and privilege. After the marriage, Nnu Ego’s shift to the city breaks these connections and patronage, the marriage and move to the city had extracted her entire existence instead of joining her to a democratic public sphere. Until marriage the protagonist had not come into contact with any men who worked for the “White” this made her to change her perceptions toward her husband worked for “white people”. Her husband, Nnaife, seems less than a man to her when she comes to know that her husband works to a ‘White’.

The native people’s hatred attitude towards the colonizer and for the people who work for them is clearly evident from the text: “If you had dared come to my father’s compound to ask for me, my brothers would have thrown you out. My people only let me come to you here because they thought you were like your brother [a man], not like this.... I would have not left the house of Amatokwu to come and live with a man who washes women’s underwear” . This statement is very important in understanding the substantial impact of colonization and the creation of colonized identities in the whole of the Ibo culture. According to Raja, “Nnu Ego realizes that all these men working in the white man’s city were not really men anymore, but rather something different, something deformed by their subjugation”. From the novel one shall understand that the colonizers place in not safe to any worker. The masters don’t have any ethics to care for the servants and their family. The workers can not expect any obligation from their masters in order to raise their family.

The protagonist Nnu Ego, had to work hard to survive and educate her children as her husband’s income is insufficient, she managed the expenses through her trading business. Its only her activities that made possible to raise her children and send them to school. The novel is definitely a critique of the colonial and native Ibo culture. It clearly picturizes the life of women in both native and colonial spheres. The women never sense the freedom neither in African patriarchal society nor in the “democratic” colonial society. The novel which shows the affiliation of a woman to her ancestral patronage denies her affiliation after her marriage. Buchi has mastered in narrating the pathetic situation of African women who neither have access to their native community nor the “safety” of the colonizer. Though the women work hard and come across many hardships to raise their children, the success of the children doesn’t bring any accomplishment to them.

In Nnu Ego’s case, even though two of her children have successful life after settling in abroad they are confronting her during her last days by not giving any comfort her. In native communities it is believed that the mother would receive some kind of comfort during their last for raising her children but after invasion of colonizers the tradition of taking care of the aged parents has been weakened. In the novel “Joys of Motherhood” the protagonist Nnu Ego’s children fails to give back the love and care which she expects in her lonely world. The story of Nnu Egos can be seen as representation of the native people’s life. In fact, the native people don’t realize that when the woman doesn’t receive the comfort during the last days the deceased spirit cannot be considered as a happy spirit

"The most celebrated female character in African creative writing is the African mother." by Marie A. Umeh according to this, is the character of Nnu Ego celebrating motherhood or not? Explain.

This image of the African mother for the most part reflects traditional African societies' mores. African societies highly regard African women for their reproductive ability, and African writers similarly portray African women in roles where they are protecting, comforting and nourishing their children.

In Buchi Emecheta's novel, The Joys of Motherhood, one witnesses the collapse of these glorifying images of the African Mother. As a literary artist preoccupied with promoting change, author Emecheta, an iconoclast, breaks away from the prevalent portraitures in African writing in which motherhood is honorific. Children do not always maintain strong and loving ties with their mothers throughout adulthood. As Emecheta states in her novel, "the joy of being a mother is the joy of giving all to your children."

The title of the book, which is taken from Flora Nwapa's novel, Efuru, is then significant and bitterly ironic. Dazzled by ambitious sons educated outside of traditional Igbo values, Nnu Ego breaks down and her old secure world gives way to a new one. Fully conscious of the irony in her life, she says,

"A woman with many children could face a lonely old age and maybe a miserable death all alone, just like a barren woman"

Here Emecheta constructs a wholly different set of economic, socio-political and cultural imperatives which diverge from the existing literary models.

Nnu Ego, the protagonist in the novel, is an offspring of Agbadi, a great chief and elephant hunter, and the proud Ona, who remains the great love of Agbadi's life although she refuses to become one of his wives. Because Nnu Ego, the reincarnation of a slave girl who has come back to live her life again, is barren in her first marriage, she is returned to her father's village. The old chief is reluctant to see her marry a second time but he relents and allows Nou Ego to marry Nnaife Owulum, aman she has never seen and does not know.

Nnaife Owulum lives in Lagos where he is employed as a laundryman in the home of an English family. Upon arriving in Lagos, Nnu Ego is disappointed with her spouse because of his obesity and his servility before Dr. and Mrs.Meers, his employers. In any event, Nnu Ego remains with her husband and bears him nine children of whom seven live: three boys and four girls.

When she despairs because of a loveless marriage, she draws comfort from the fact that Nnaife is responsible for her seemingly esteemed position as another. Upon the birth of their first son, Oshia, she reflects:

"She was now sure, as she bathed her baby son and cooked for her husband, that her old age would be happy, that when she died there would be somebody left behind to refer to her as 'mother' "

Instead she draws spirited individuals, not without faults. In this book, the mother figure is described in a variety of situations. One witnesses the mother sacrificing herself for her children, fighting with her husband in order to get financial support for the children, protecting her children from their father's wrath, correcting her children and suffering because of their absence, their revolts against traditional customs, their needs.

Unlike most African male writers who revere their mothers in autobiographies, recalling their mothers' affection, Buchi Emecheta records the troubled and chaotic moments in a mother's life. Apart from the positive aspects of mother-hood, author Emecheta records the turmoil and anguish of women who long for children and of mothers who worry about their children.

Realizing too late that a single woman can be happy even though she has no children, Nnu Ego in death becomes spiritually committed to heightening the consciousness of the African woman.

Emecheta falls short of being a serious feminist writer in that her main character, Nnu Ego, acquires her raised consciousness to personhood only as the book closes. Although her character Adaku serves as a model of the liberated woman who conducts herself as a "free woman" and provides us with a glimpse of how an African woman conducts herself as a separated mother with two children, we have yet to see a realistic novel which describes a fully liberated heroine who lives an independent life as a respectable human being within African society.

Because of the conservative sexual mores expected of women in the Igbo community, Adaku, by renouncing her marriage to Nnaife, choosing to live alone, and entertaining men friends, sets herself apart from the other married women in her community who seek status and protection in the home of respectable African men. Adaku, by contrast, is determined to become a successful trader and keep men at her disposal.

 Conclusion

Buchi Emecheta rather than portraying women simply as a mother who lives in secure Africa, she portrayed women ignored by or inaccessible by African male writers. According to Marie “Male writers lack the empathy, sympathy, and consciousness of their female psyche. They do not know what it means to be an African woman in African society”. The reader can feel Nnu Ego the protagonist's longing for motherhood in the beginning when she was denied by her first husband for not conceiving later, after begetting seven children she doesn’t enjoy the “motherhood” she was longing during her last days. Buchi describes the predicaments of motherhood and the heart-rending death of the protagonist. Nnu Ego faces all sorts of obstacles at all stages of her life, she strongly believed in one thing that the joy of motherhood is to give everything to the children so that during her old age the children give back joy and love. In contrast, Buchi presents the darker side, or we shall say the bitter truth, despite all the hardships the protagonist faces she is neglected by her husband, children and the society. Katherine Frank, “beautifully” condemns the act of her children as “……millstones around the mother’s neck, or as greedy insects who suck out and drain her life’s blood”. Buchi Emecheta presented the novel from the female point of view that definitely outfits the theme and keeps the reader aware of the condition of African woman. She elaborately presents the dishonored position of the woman in the patriarchal African society and succeeds in that through the characterization. As Ernest N. Emenyonu comments, “The Joys of Motherhood is not only an ironic commentary, on the destinies of African womanhood, it is also a parable on the misplaced values of life in general, in Africa as elsewhere ”.Buchi Emecheta through her novel teaches us a lot about the perilous life of native people in the colonized context and the novel Joys of Motherhood let the readers to know about such experiences of the African women.