Okonkwo Hyper-Masculinity Essay

Through the character of Okonkwo, Achebe illustrates the dangers of being selfish. Although successful, Okonkwo is one of the most aggressively selfish men among the Igbo people based on his self-centered needs and desires. This characteristic is prevalent throughout the entirety of the novel, and there are always consequences to his actions. For example, Okonkwo is fond of calling men “women” to make himself look more masculine. He does this to Osugo in front of a group of men in a meeting. “Okonkwo knew how to kill a man’s spirit. Everybody at the kindred meeting took sides with Osugo when Okonkwo called him a woman” (Achebe 26). Since the other men sided with Osugo, Okonkwo’s punishment for this narcissistic outburst is embarrassment. Continuing,

Tony Pierson 3/20/18 ELA 10, Period 6 Mr. Keister EA 3.2 Okonkwo’s Response to The Cultural Collisions Since Okonkwo stood out more than all the other men he was seen as Umuofia's most powerful man. Although Okonkwo is the most powerful man in Umuofia he also has weaknesses. One of those weaknesses is his father, he doesn’t wanna be a weak man and careless like his father. As the white missionaries moved in into their home land, the Igbo people who are unsure of how to react to these traditions either switched to their ways or stayed faithful to their faith. Many people became persuaded of the new religions authorities, however Okonkwo who is an warrior at heart refuses to accept the changes that were taking place in his community.

Even though the novel depicts a societal conflict between colonizers who attempt to impose change and tribesmen who reject that change, Achebe avoids stereotyping the colonizers as “bad” and the tribesmen as “good.” The protagonist, Okonkwo, is portrayed with little sympathy. An angry, callous man, he is shown to act outwardly only in violence. Growing up, his father was a weak, effeminate man, and Okonkwo aspired to be everything his father was not: “He was ruled by one passion—to hate everything his father had loved, one of these was gentleness” (13). Even though his motives are established, Achebe does not attempt to justify the selfish and detrimental actions of Okonkwo. On the contrary, Okonkwo’s uncle Uchendu is rendered as a selfless, compassionate, and wise old man. When Okonkwo is banished from his tribe, Uchendu receives his nephew with open arms and helps him re-establish his life. “As soon as Uchendu saw him with his sad and weary company, he guessed what had happened, and asked no questions” (129). By showing both undesirable and appealing characters, Achebe offers a reputable and non-biased portrayal of his native people to unfamiliar American audiences.

Okonkwo strives all of his life to become a stronger, more powerful, and a successful individual. He wants to do this because his father was a slack and lazy person who lived most of his life in debt and had no titles to his name. People often looked at his father as a women figure for the few achievements he redeemed. Okonkwo never wanted to be like his father and it eventually got to the point where he became fearful of becoming like him. Achebe uses the power of fear as a theme of to show how much it can devastate one’s

Nwoye, Okonkwo’s oldest son, causes him great concern because Okonkwo sees him as lazy. He sees Nwoye as inadequate to his standards of how a son should be and Achebe illustrates this early on in the novel, “At any rate, that was how it looked to his father, and he sought to correct that by constant nagging and beating. And so Nwoye was developing into a sad-faced youth,” (10). Okonkwo is so critical of his son’s behavior that he even beats and criticizes Nwoye because he does not like his father’s masculine stories of violence and gore as much as he likes the stories his mother tells him, stories that are more “female-oriented” in Okonkwo’s eyes. Nwoye seeks his father’s approval so much that he pretends to like the stories his father tells him. As Achebe states, “...he knew that his father wanted him to be a man. And so he feigned that he no longer cared for women’s stories. And when he did this he saw that his father was pleased, and no longer rebuked him or beat him,” (38).

One day at a kindred tribal meet a man contradicted Okonkwo’s view. Okonkwo was quick to call him a woman, and just as quickly Okonkwo was reprimanded by the other tribesmen. These outbursts made Okonkwo look ignorant and brash, but he could not stand weakness of any sort. This is one of many situations that convey the severity of Okonkwo’s tragic flaw.

Chinua Achebe unfolds a variety of interesting connections between characters in the Novel Things Fall Apart. Relationships with parents, children and inner self are faced differently, however the attitude that Okonkwo gave them determined what kind of outcome he generated from these relations. Okonkwo looks at everything through his violent and manly perspective and is afraid to show his real feelings because he thinks that he may be thought out as weak and feminine this paranoid attitude lead him to self-destruction.

Okonkwo's fear of being perceived as weak tragically leads to him to be unnecessarily violent and excessively prideful. These two fatal flaws lead to Okonkwo’s own emotional isolation, and his inevitable downfall. Driven by the fear of being seen as weak and emasculated, Okonkwo exhibits hyper masculinity and rage. Although this behavior initially leads to success in the patriarchal society of Umofia, rage is his greatest bane: it masks his compassion and pusillanimity. Onkonkwo’s obsession to never appear feminine is driven to the extreme. He denies affection even to his own family, “never show[ing] any emotion openly, unless it be the emotion of anger. To [Okonkwo] show[ing] affection was a sign of weakness; the only thing worth demonstrating was strength.” (pg. 28). Okonkwo whose “whole life [is] dominated by fear, the fear of failure and of weakness.” (pg. 13) suppress his compassion in order to appear important and manly. Ironically this creates a stark juxtaposition between his own fear and his position as an alpha male. Rather than being masculine and courageous, Okonkwo just creates tension within his family and within himself. The pinnacle of this extreme hypermasculinity is when Okonkwo ignores the wisdom of the elder Ezeudu, and violently kills his “son” Ikamafuna: “As the man who had cleared his throat drew up and raised his machete, Okonkwo looked away. He had heard Ikamafuna cry “My father, they have killed me!”

Things Fall Apart, written by Chinua Achebe, depicts the life of a clansman of Umuofia, known as Okonkwo. Okonkwo was one of the wealthiest and respected men of his tribe. He gained respect as a great wrestler in his clan, and worked to surpass his father, Unoka’s image, which had

What is a tragic hero? According to Aristotle, a tragic hero is a literary, noble character who makes a judgment mistake that eventually leads to his/her downfall. In the book Things Fall Apart, Okonkwo is our tragic hero. His leadership and eventual nobility, big reversal as a character, and his

In a village where visible masculinity is imperative to possess if a man wants a good reputation, Okonkwo does not wish to contradict the village’s ideal image. His love for Ikemefuna is strong; however his image trumps his affections for the boy. Even though he is directly told by Ogbuefi

The only thing he (Okonkwo) fears most is not ending up like his father, Unoka. However, Achebe ‘‘makes an insightful comment on the nature of masculinity through his representation of the tribal leaders. Achebe basically, was conducive in creating four alter egos of Okonkwo: one of which were the masculinity; next of his fatherly abilities; and the last of his family progress and four of his likelihood of success’’ (Achebe.179). My paper will explain how Okonkwo’s Masculinity from Achebe’s Things Fall Apart will be characterized by his fears, beliefs, and emotions for several reasons.

Igbo land, the land that’s known as Nigeria now. Okonkwo struggles with his masculinity and his strong ties to his culture that’s been destroyed by the british and their goal to convert everyone into christians. The missionaries make things hard for Okonkwo as he tries desperately to hold on to

He uses the tragic hero format by giving Okonkwo the main characteristics of tragic heroes of past, like Oedipus. Okonkwo has flaws, has a self-caused Fall, the influence of forces, and nobility. His use of the tragic hero assured that he would capture the western audience so he could inform them on an issue he cares so much about. You can see Achebe is attached to these issues, as he once said; “The last four or five hundred years of European contact with Africa produced a body of literature that presented Africa in a very bad light and Africans in very lurid terms.” In conclusion, Achebe successfully educates western audiences about what African culture is really like, as opposed to the flawed perspectives of the

Okonkwo, pleased by his sons development, invites Ikemefuna and Nwoye to sit with him, and tells them “masculine stories of violence and bloodshed” (Achebe 53). Nwoye has always loved and prefered the childish folktales told by his mother over his father’s violent war stories, but knows that in the Igbo’s culture, folktales “were for foolish women and children , and [that] his father [wants] him to be a man” (Achebe 54). Subsequently, Nwoye finds himself feigning his distaste for the charming folktales, and “[feigning] annoyance and [grumbling] aloud about women and their troubles”, in order to please his father (Achebe