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Things Fall Apart By Chinua Achebe

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Yet by using English, Achebe faces a problem. How can he present the African heritage and culture in a language that can never describe it adequately? Indeed, one of the primary tasks of Things Fall Apart is to confront this lack of understanding between the Igbo culture and the colonialist culture. In the novel, the Igbo ask how the white man can call Igbo customs bad when he does not even speak the Igbo language. An understanding of Igbo culture can only be possible when the outsider can relate to the Igbo language and terminology.

Achebe solves this problem by incorporating elements of the Igbo language into his novel. By incorporating Igbo words, rhythms, language, and concepts into an English text about his culture, Achebe goes a
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These particular elements give Things Fall Apart an authentic African voice. The Igbo culture is fundamentally an oral one — that is, "Among the Igbo, the art of conversation is regarded very highly, and proverbs are the palm-oil with which words are eaten" (Chapter1). To provide an authentic feel for Igbo culture would be impossible without also allowing the proverbs to play a significant role in the novel. And despite the foreign origin of these proverbs and tales, the Western reader can relate very well to many of them. They are woven smoothly into their context and require only occasional explanation or elaboration. These proverbs and tales are, in fact, quite similar in spirit to Western sayings and fables.

Modern-day readers of this novel not only relate easily to traditional proverbs and tales but also sympathize with the problems of Okonkwo, Nwoye, and other characters. Achebe has skillfully developed his characters, and even though they live in a different era and a very different culture, one can readily understand their motivations and their feelings because they are universal and timeless.

Speech patterns and rhythms are occasionally used to represent moments of high emotion and tension. Consider the sound of the drums in the night in Chapter 13 (go-di-di-go-go-di-go); the call repeated several times to unite a gathering followed by its group response, first described in Chapter 2 (Umuofia kwenu. . .Yaa!); the agonized call of the
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