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Masculinity In Achebe's Things Fall Apart

Decent Essays

The way masculinity is performed in the narrative structure of both novels allows a continuous going back and forth from masculinity as a secure category to masculinity as a state of crisis. In Things Fall Apart, Achebe uses the third person narrator to showcase the narrative’s cultural conflict through voice. The distance between the narrator and the reader as well as the use of past tense narration helps destabilizing masculinity at the same time as the colonial order of things is destabilized. Thanks to the three-part structure of the novel with each part representing a step downward from masculinity, the reader doubts Onkokwo’s iconic status as the narration reveals him as a deeply flawed individual. Igbo culture is represented within a normative space and communication, their internal dialogues make up for the distance between the narrator and the reader. If critics go as far as arguing that the form of the novel constitutes a space in which the contestation of gender meaning occurs, it is because language represents a means to either include or alienate a listener, suggesting that there is a masculine language. Physical performance is in compliance with verbal performance, Onkokwo uses aggression to replace his lack of speech: ‘whenever he was angry and could not get his words out quickly enough, he would use his fists’. The narrative representations of masculine performances in Story of An African Farm suggest that gender identity doesn’t always fall into two essentialist categories. Schreiner focuses on the form to portray colonialism as antithetical to female progress. Colonialism is destroying everyone under its regime and it is precisely what allows her to assert the redemption of the soul through philosophical wanderings. When Young argues that the text criticizes Em’s acceptation of the ideal of female domesticity as restrictive, he overlooks Schreiner’s resort to allegory. This special rhetorical device serves to comment on the limits of language as well as diverting the attention. It allows to better underline the characters’ thoughts regarding gender performativity, especially for Lyndall whom it seems to confuse. After Otto’s dismissal, she concludes that she ‘will hate everything that has

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