Journal articles on the topic 'Emecheta, Buchi. Women Women in literature'

Quest for identity is one phenomenon of postcolonialism that led way for the emergence of Women writers portraying the indigenous women of their society who were denied the authorial voice in the male-dominated society. Africa African woman literature has always been discussed elaborately not only among ‘White’ but also among fellow African women writers and critics across the globe. Emecheta was one such writer whose work has been criticized for writing after settled in the western country, UK (the colonizer). The readers from third world nations may agree with Emecheta’s call for the necessity to redefine Women’s identity under the African identity. Buchi Emecheta to that reverence has always through her strong woman characters never failed to express the state of the African women and their limitations in social life. Emecheta has always recorded her protagonists' struggle for equality in a male-dominated society. Through the study of her novel The Joys of Motherhood, an attempt is made to explore her perception of Motherhood and explain how she portrays it to the African context where traditions and communal ties are deeply rooted in the Nigerian Ibo society.

African literature has been dominated by male African writers. However, there are a number of female African writers who contributed to the literary landscape of the continent significantly. In line with this, researches that deal with issues of gender in African literature are increasing (Fonchingong, 2006; Salami-Boukari, 2012; Stratton, 1994). In this study, I aim to expose patriarchal oppression in two selected post-colonial African novels. I ask “How do postcolonial African female writers expose gender oppression and patriarchy in their novels?” I ask how the female characters in the selected novels resist patriarchal dominance and oppression. I seek to uncover any thematic patterns and/or overlaps that would emerge across the selected novels. To achieve this, I analyze two feminist Anglophone African novels by female writers of the continent, namely ‘The Slave Girl’ and ‘A Question of Power’. Gynocentrism is used as an approach to achieve this purpose. The analyses of the novels make it feel that patriarchy is used as a tool to stabilize the discrimination of the feminine gender. The heroines in both novels are found to be patriarchal women with some attempt to reverse the gender order. The major female characters in the novels stand against the intersectional discrimination of the feminine from the male personhood, religion, as well as colonial culture. These discussions about patriarchy revive the vitality of African feminist novels to the present readers.

The novel “The Slave Girl” by Buchi Emecheta exposes the plights of African women and portrayal of their struggle as slaves and ultimately how they come up the problem and becomes a self-awakened. In this paper, one can see Ojebeta starting her life as a slave and finally becomes an owner of a house by passing so many phases of life as a slave. In the beginning, she is sold into domestic slavery by her own brother. She has become the victim to her brother’s traits. She has become a scapegoat to the plans of African patriarchy. The intention of Buchi Emecheta is to recreate the image of women through feminism. Emecheta’s fiction is blended with reality representing socio historical elements of the prevailing society and its environment besides questioning the pathetic conditions of the people in general and women in particular. One can observe the narration of innocence of childhood grown into adulthood by attaining certain amount of freedom with the Christian education which she has received with which she has attained a small degree of self-awareness.

Feminism is a collection of movements which struggles for women's rights. Focusing on gender as a basis of women's sexual oppression, feminist scholarship attempts to establish equal rights for women politically, economically, socially, personally, etc. The Joys of Motherhood highlights Buchi Emecheta's critical view toward colonialism and racism affecting Third world women's lives. Besides this, Emecheta goes further to display African women's invisibility and marginalization-which were out of sight for a long time-in terms of some aspects of Western feminist discourse. Her creative discourse, in this regard, casts further light upon the issue of gender oppression in African feminist study. Hence, this study attempts to examine the way in which Emecheta furthers Western feminist ideology.

Literature and the effects on the society is manifold. It provides aesthetic needs and also reconstructs the beliefs and values in the readers. The paper entitled “The Adah - Upheaval in Buchi Emecheta’s Second – Class Citizen” is an explicit presentation on the spirit of Adah. It also analyses the factors that gather her strength right from an ambitious girl to a strong, successful woman. The Adah-upheaval is the representation of the ever -glowing embers in the heart of every woman. The paper further traces the life of Adah and thereby a framework for comprehending the rise of Adah. It demonstrates the social factors that lay a hindrance and the unique individual character that keep a check to the same.

The Bride Price is one of the most influential modern novels authored by Buchi Emecheta through which the voice of a female character is expressed. The study has two points of discussion: the first deals with patriarchal society in which women suffer and become the only victims, and the second does with African culture from which Emecheta criticizes severely. Men have all the powers in controlling the whole family. The traditional society of Africa follows their culture as it is especially in paying the bride from the groom’s family. The paper aims at both men and women to keep this belief for the rest of their life no matter how modern the society has become. To some extent, the idea of “double colonization” proposed by Peterson and Rutherford (1986) will be identified in the paper and further explanation will be given. The paper also is an attempt to analyze the reflection of the African system related to marriage in the novel; as similar idea can be found in Iraqi Kurdistan that would be counted as the main objective behind writing the current paper. Furthermore, it shows some cultural similarities between both countries. By applying “double colonization” theory, the researcher confirms that Emecheta’s female characters suffer a traumatic experience in which they are controlled by two colonizers: the power of males and the reality of colonization. The researcher tries to send his messages through this paper out to avoid such conflicts and spread self and cultural awareness among the society.

Buchi Emecheta, a prolific literary giant, who is known for championing the cause of black women in Africa and Diaspora, has crafted more than twenty books elucidating the ordeals and the pitiable plight into which the black women have been ditched for ages. Her contribution to the literary world is widely acclaimed by many as her writings reflect her personal and community pathos comprehensively. Her versatile nature is exhibited through her multifaceted dimensions of an orator, essayist, novelist, and playwright. Her resurgence from nothingness to the pinnacle of fame is a testimony that her writings are very relevant and useful in today’s world. It would be crystal clear to anyone who reads her novels that her writings principally evolve around on twofold agendas. Firstly, it aims at exposing the harassment that women are prone to suffer under patriarchy and secondly, she crafts out series of plan of actions to overcome such hazards. It is her intellectual competency and acumen enables her to strategize effective mechanism to combat all the forces that are oppressive towards women.

Abstract This article tracks the ethical ambivalence of the native. First, there is a nativism drawn out with reference to Melissa Kennedy and Gary Okihiro that reframes the native in a poetic impulse, asks for a redistributive epistemological change in knower and known, and can rescue nativism into an acknowledgement of complicity. Second, there are acknowledgments of complicity that can pluck nativism away from the divisive compartmentalization that it seems to foster, as can be seen in the work of Soumaya Mestiri. The article ends with remarks from Buci Emecheta’s The Joys of Motherhood to underscore a critique of nativism in the rural-urban interface in Nigeria that is globally instructive and to point out the fact that woman is never native.

A gendered spatial schema of war – which creates a dichotomy between a masculine battlefront and a feminine home-front – undermines the credibility of women’s participation in battle, impacting on the legitimacy of women’s war novels. Through a study of Buchi Emecheta’s Destination Biafra, first published in 1982, this article highlights the role of genre conventions in the production and reception of war novels written by African women. Emecheta makes a daring choice to reconceptualise the home and/or battlefront dichotomy. By manipulating the representational genre convention of soldier-hero she subverts its archetypal masculinity. Debbie, the female soldier-hero, is the focal point of this analysis. Within the context of post-colonial African literature, women’s writing is portrayed as a process of ‘writing back’ to a canon that represents women as apolitical conduits of tradition. In Debbie, Emecheta foregoes canonical markers of African ‘authenticity’ to create a liminal figure that negotiates her identity between modernity and tradition; masculinity and femininity. The article concludes that the principal reason why the characterisation of Debbie is deemed dissatisfying is that it defies the facile categorisation offered by the adherence to the gendered representational conventions. Too often genre is considered a fixed category yet a meaningful analysis of Destination Biafra forces one to consider it as an open category whose conventions can be ‘bent’ to accommodate minority literatures spawning new sub-genres.

Buchi Emecheta’s novel about the Nigerian Civil War, Destination Biafra (1982), challenges war historiography in ways that scholarship designating it a “female perspective” on the conflict can sometimes overlook. This article focuses on how Emecheta deploys a dual narrative approach that weaves an omniscient narrator with diverse Nigerian women’s points of view in order to position their lived experiences and subjective knowledges as collectively amounting to the definitive history of the Civil War. This draws the reader’s attention to the gendered effects of the civil war as the lens whereby which all facets of the war can be understood - even and especially its macro causes in neocolonialism and petrocapitalism. By writing women who know the economic imperatives behind the conflict; exercise agency under dangerous circumstances; and employ methods of survival that safeguard others, Emecheta reveals the gendered politics of war historiography, and tests these politics by collapsing distinctions between what is habitually conceived of as the war front (and therefore to be narrated by active combatants), and everywhere else (to be narrated by witnesses, refugees, or survivors). Destination can therefore be understood as an attempt to intervene directly in historiographical method, as it rejects the designation of women’s war experiences as mere addenda and questions gendered expectations of where to look for and find historical truths.

Introduction The genealogy of Feminist Standpoint Theory in the 1970s prioritised “locationality”, particularly the recognition of social and historical locations as valuable contribution to knowledge production. Pioneering figures such as Sandra Harding, Dorothy Smith, Patricia Hill Collins, Alison Jaggar, and Donna Haraway have argued that the oppressed must have some means (such as language, cultural practices) to enter the world of the oppressor in order to access some understanding of how the world works from the privileged perspective. In the essay “Meeting at the Edge of Fear: Theory on a World Scale”, the Australian social scientist Raewyn Connell explains that the production of feminist theory almost always comes from the global North. Connell critiques the hegemony of mainstream Northern feminism in her pyramidal model (59), showing how theory/knowledge is produced at the apex (global North) of a pyramid structure and “trickles down” (59) to the global South. Connell refers to a second model called mosaic epistemology which shows that multiple feminist ideologies across global North/South are juxtaposed against each other like tiles, with each specific culture making its own claims to validity.However, Nigerian feminist Bibi Bakare-Yusuf’s reflection on the fluidity of culture in her essay “Fabricating Identities” (5) suggests that fixing knowledge as Northern and Southern—disparate, discrete, and rigidly structured tiles—is also problematic. Connell proposes a third model called solidarity-based epistemology which involves mutual learning and critiquing with a focus on solidarity across differences. However, this is impractical in implementation especially given that feminist nomenclature relies on problematic terms such as “international”, “global North/South”, “transnational”, and “planetary” to categorise difference, spatiality, and temporality, often creating more distance than reciprocal exchange. Geographical specificity can be too limiting, but we also need to acknowledge that it is geographical locationality which becomes disadvantageous to overcome racial, cultural, and gender biases — and here are few examples.Nomenclatures: Global-North and Global South ParadigmThe global North/South terminology differentiating the two regions according to means of trade and relative wealth emerged from the Brandt Report’s delineation of the North as wealthy and South as impoverished in 1980s. Initially, these terms were a welcome repudiation of the hierarchical nomenclature of “developed” and “developing” nations. Nevertheless, the categories of North and South are problematic because of increased socio-economic heterogeneity causing erasure of local specificities without reflecting microscopic conflicts among feminists within the global North and the global South. Some feminist terms such as “Third World feminism” (Narayan), “global feminism” (Morgan), or “local feminisms” (Basu) aim to centre women's movements originating outside the West or in the postcolonial context, other labels attempt to making feminism more inclusive or reflective of cross-border linkages. These include “transnational feminism” (Grewal and Kaplan) and “feminism without borders” (Mohanty). In the 1980s, Kimberlé Williams Crenshaw’s concept of intersectionality garnered attention in the US along with Gloria Anzaldúa’s Borderlands/La Frontera: The New Mestiza (1987), which raised feminists’ awareness of educational, healthcare, and financial disparities among women and the experiences of marginalised people across the globe, leading to an interrogation of the aims and purposes of mainstream feminism. In general, global North feminism refers to white middle class feminist movements further expanded by concerns about civil rights and contemporary queer theory while global South feminism focusses on decolonisation, economic justice, and disarmament. However, the history of colonialism demonstrates that this paradigm is inadequate because the oppression and marginalisation of Black, Indigenous, and Queer activists have been avoided purposely in the homogenous models of women’s oppression depicted by white radical and liberal feminists. A poignant example is from Audre Lorde’s personal account:I wheeled my two-year-old daughter in a shopping cart through a supermarket in Eastchester in 1967, and a little white girl riding past in her mother’s cart calls out excitedly, ‘oh look, Mommy, a baby maid!’ And your mother shushes you, but does not correct you, and so fifteen years later, at a conference on racism, you can still find that story humorous. But I hear your laughter is full of terror and disease. (Lorde)This exemplifies how the terminology global North/South is a problem because there are inequities within the North that are parallel to the division of power and resources between North and South. Additionally, Susan Friedman in Planetary Modernisms observes that although the terms “Global North” and “Global South” are “rhetorically spatial” they are “as geographically imprecise and ideologically weighted as East/West” because “Global North” signifies “modern global hegemony” and “Global South” signifies the “subaltern, … —a binary construction that continues to place the West at the controlling centre of the plot” (Friedman, 123).Focussing on research-activism debate among US feminists, Sondra Hale takes another tack, emphasising that feminism in the global South is more pragmatic than the theory-oriented feminist discourse of the North (Hale). Just as the research-scholarship binary implies myopic assumption that scholarship is a privileged activity, Hale’s observations reveal a reductive assumption in the global North and global South nomenclature that feminism at the margins is theoretically inadequate. In other words, recognising the “North” as the site of theoretical processing is a euphemism for Northern feminists’ intellectual supremacy and the inferiority of Southern feminist praxis. To wit, theories emanating from the South are often overlooked or rejected outright for not aligning with Eurocentric framings of knowledge production, thereby limiting the scope of feminist theories to those that originate in the North. For example, while discussing Indigenous women’s craft-autobiography, the standard feminist approach is to apply Susan Sontag’s theory of gender and photography to these artefacts even though it may not be applicable given the different cultural, social, and class contexts in which they are produced. Consequently, Moroccan feminist Fatima Mernissi’s Islamic methodology (Mernissi), the discourse of land rights, gender equality, kinship, and rituals found in Bina Agarwal’s A Field of One’s Own, Marcia Langton’s “Grandmothers’ Law”, and the reflection on military intervention are missing from Northern feminist theoretical discussions. Moreover, “outsiders within” feminist scholars fit into Western feminist canonical requirements by publishing their works in leading Western journals or seeking higher degrees from Western institutions. In the process, Northern feminists’ intellectual hegemony is normalised and regularised. An example of the wealth of the materials outside of mainstream Western feminist theories may be found in the work of Girindrasekhar Bose, a contemporary of Sigmund Freud, founder of the Indian Psychoanalytic Society and author of the book Concept of Repression (1921). Bose developed the “vagina envy theory” long before the neo-Freudian psychiatrist Karen Horney proposed it, but it is largely unknown in the West. Bose’s article “The Genesis and Adjustment of the Oedipus Wish” discarded Freud’s theory of castration and explained how in the Indian cultural context, men can cherish an unconscious desire to bear a child and to be castrated, implicitly overturning Freud’s correlative theory of “penis envy.” Indeed, the case of India shows that the birth of theory can be traced back to as early as eighth century when study of verbal ornamentation and literary semantics based on the notion of dbvani or suggestion, and the aesthetic theory of rasa or "sentiment" is developed. If theory means systematic reasoning and conceptualising the structure of thought, methods, and epistemology, it exists in all cultures but unfortunately non-Western theory is largely invisible in classroom courses.In the recent book Queer Activism in India, Naisargi Dev shows that the theory is rooted in activism. Similarly, in her essay “Seed and Earth”, Leela Dube reveals how Eastern theories are distorted as they are Westernised. For instance, the “Purusha-Prakriti” concept in Hinduism where Purusha stands for pure consciousness and Prakriti stands for the entire phenomenal world is almost universally misinterpreted in terms of Western binary oppositions as masculine consciousness and feminine creative principle which has led to disastrous consequences including the legitimisation of male control over female sexuality. Dube argues how heteropatriarchy has twisted the Purusha-Prakriti philosophy to frame the reproductive metaphor of the male seed germinating in the female field for the advantage of patrilineal agrarian economies and to influence a homology between reproductive metaphors and cultural and institutional sexism (Dube 22-24). Attempting to reverse such distortions, ecofeminist Vandana Shiva rejects dualistic and exploitative “contemporary Western views of nature” (37) and employs the original Prakriti-Purusha cosmology to construct feminist vision and environmental ethics. Shiva argues that unlike Cartesian binaries where nature or Prakriti is inert and passive, in Hindu Philosophy, Purusha and Prakriti are inseparable and inviolable (Shiva 37-39). She refers to Kalika Purana where it is explained how rivers and mountains have a dual nature. “A river is a form of water, yet is has a distinct body … . We cannot know, when looking at a lifeless shell, that it contains a living being. Similarly, within the apparently inanimate rivers and mountains there dwells a hidden consciousness. Rivers and mountains take the forms they wish” (38).Scholars on the periphery who never migrated to the North find it difficult to achieve international audiences unless they colonise themselves, steeping their work in concepts and methods recognised by Western institutions and mimicking the style and format that western feminist journals follow. The best remedy for this would be to interpret border relations and economic flow between countries and across time through the prism of gender and race, an idea similar to what Sarah Radcliffe, Nina Laurie and Robert Andolina have called the “transnationalization of gender” (160).Migration between Global North and Global SouthReformulation of feminist epistemology might reasonably begin with a focus on migration and gender politics because international and interregional migration have played a crucial role in the production of feminist theories. While some white mainstream feminists acknowledge the long history of feminist imperialism, they need to be more assertive in centralising non-Western theories, scholarship, and institutions in order to resist economic inequalities and racist, patriarchal global hierarchies of military and organisational power. But these possibilities are stymied by migrants’ “de-skilling”, which maintains unequal power dynamics: when migrants move from the global South to global North, many end up in jobs for which they are overqualified because of their cultural, educational, racial, or religious alterity.In the face of a global trend of movement from South to North in search of a “better life”, visual artist Naiza Khan chose to return to Pakistan after spending her childhood in Lebanon before being trained at the University of Oxford. Living in Karachi over twenty years, Khan travels globally, researching, delivering lectures, and holding exhibitions on her art work. Auj Khan’s essay “Peripheries of Thought and Practise in Naiza Khan’s Work” argues: “Khan seems to be going through a perpetual diaspora within an ownership of her hybridity, without having really left any of her abodes. This agitated space of modern hybrid existence is a rich and ripe ground for resolution and understanding. This multiple consciousness is an edge for anyone in that space, which could be effectively made use of to establish new ground”. Naiza Khan’s works embrace loss or nostalgia and a sense of choice and autonomy within the context of unrestricted liminal geographical boundaries.Early work such as “Chastity Belt,” “Heavenly Ornaments”, “Dream”, and “The Skin She Wears” deal with the female body though Khan resists the “feminist artist” category, essentially because of limited Western associations and on account of her paradoxical, diasporic subjectivity: of “the self and the non-self, the doable and the undoable and the anxiety of possibility and choice” (Khan Webpage). Instead, Khan theorises “gender” as “personal sexuality”. The symbolic elements in her work such as corsets, skirts, and slips, though apparently Western, are purposely destabilised as she engages in re-constructing the cartography of the body in search of personal space. In “The Wardrobe”, Khan establishes a path for expressing women’s power that Western feminism barely acknowledges. Responding to the 2007 Islamabad Lal Masjid siege by militants, Khan reveals the power of the burqa to protect Muslim men by disguising their gender and sexuality; women escape the Orientalist gaze. For Khan, home is where her art is—beyond the global North and South dichotomy.In another example of de-centring Western feminist theory, the Indian-British sitar player Anoushka Shankar, who identifies as a radical pro-feminist, in her recent musical album “Land of Gold” produces what Chilla Bulbeck calls “braiding at the borderlands”. As a humanitarian response to the trauma of displacement and the plight of refugees, Shankar focusses on women giving birth during migration and the trauma of being unable to provide stability and security to their children. Grounded in maternal humility, Shankar’s album, composed by artists of diverse background as Akram Khan, singer Alev Lenz, and poet Pavana Reddy, attempts to dissolve boundaries in the midst of chaos—the dislocation, vulnerability and uncertainty experienced by migrants. The album is “a bit of this, and a bit of that” (borrowing Salman Rushdie’s definition of migration in Satanic Verses), both in terms of musical genre and cultural identities, which evokes emotion and subjective fluidity. An encouraging example of truly transnational feminist ethics, Shankar’s album reveals the chasm between global North and global South represented in the tension of a nascent friendship between a white, Western little girl and a migrant refugee child. Unlike mainstream feminism, where migration is often sympathetically feminised and exotified—or, to paraphrase bell hooks, difference is commodified (hooks 373) — Shankar’s album simultaneously exhibits regional, national, and transnational elements. The album inhabits multiple borderlands through musical genres, literature and politics, orality and text, and ethnographic and intercultural encounters. The message is: “the body is a continent / But may your heart always remain the sea" (Shankar). The human rights advocate and lawyer Randa Abdel-Fattah, in her autobiographical novel Does My Head Look Big in This?, depicts herself as “colourful adjectives” (such as “darkies”, “towel-heads”, or the “salami eaters”), painful identities imposed on her for being a Muslim woman of colour. These ultimately empower her to embrace her identity as a Palestinian-Egyptian-Australian Muslim writer (Abdel-Fattah 359). In the process, Abdel-Fattah reveals how mainstream feminism participates in her marginalisation: “You’re constantly made to feel as you’re commenting as a Muslim, and somehow your views are a little bit inferior or you’re somehow a little bit more brainwashed” (Abdel-Fattah, interviewed in 2015).With her parental roots in the global South (Egyptian mother and Palestinian father), Abdel-Fattah was born and brought up in the global North, Australia (although geographically located in global South, Australia is categorised as global North for being above the world average GDP per capita) where she embraced her faith and religious identity apparently because of Islamophobia:I refuse to be an apologist, to minimise this appalling state of affairs… While I'm sick to death, as a Muslim woman, of the hypocrisy and nonsensical fatwas, I confess that I'm also tired of white women who think the answer is flashing a bit of breast so that those "poor," "infantilised" Muslim women can be "rescued" by the "enlightened" West - as if freedom was the sole preserve of secular feminists. (Abdel-Fattah, "Ending Oppression")Abdel-Fattah’s residency in the global North while advocating for justice and equality for Muslim women in both the global North and South is a classic example of the mutual dependency between the feminists in global North and global South, and the need to recognise and resist neoliberal policies applied in by the North to the South. In her novel, sixteen-year-old Amal Mohamed chooses to become a “full-time” hijab wearer in an elite school in Melbourne just after the 9/11 tragedy, the Bali bombings which killed 88 Australians, and the threat by Algerian-born Abdel Nacer Benbrika, who planned to attack popular places in Sydney and Melbourne. In such turmoil, Amal’s decision to wear the hijab amounts to more than resistance to Islamophobia: it is a passionate search for the true meaning of Islam, an attempt to embrace her hybridity as an Australian Muslim girl and above all a step towards seeking spiritual self-fulfilment. As the novel depicts Amal’s challenging journey amidst discouraging and painful, humiliating experiences, the socially constructed “bloody confusing identity hyphens” collapse (5). What remains is the beautiful veil that stands for Amal’s multi-valence subjectivity. The different shades of her hijab reflect different moods and multiple “selves” which are variously tentative, rebellious, romantic, argumentative, spiritual, and ambitious: “I am experiencing a new identity, a new expression of who I am on the inside” (25).In Griffith Review, Randa-Abdel Fattah strongly criticises the book Nine Parts of Desire by Geraldine Brooks, a Wall-Street Journal reporter who travelled from global North to the South to cover Muslim women in the Middle East. Recognising the liberal feminist’s desire to explore the Orient, Randa-Abdel calls the book an example of feminist Orientalism because of the author’s inability to understand the nuanced diversity in the Muslim world, Muslim women’s purposeful downplay of agency, and, most importantly, Brooks’s inevitable veil fetishism in her trip to Gaza and lack of interest in human rights violations of Palestinian women or their lack of access to education and health services. Though Brooks travelled from Australia to the Middle East, she failed to develop partnerships with the women she met and distanced herself from them. This underscores the veracity of Amal’s observation in Abdel Fattah’s novel: “It’s mainly the migrants in my life who have inspired me to understand what it means to be an Aussie” (340). 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