Explore how Achebe presents Igbo culture in ‘Things fall apart’

Things Fall Apart presents a complex portrayal of a society in flux. Achebe’s account of one tribe’s tumultuous interaction with Christianity and colonial rule exposes the conflicts and negotiations communities faced as a result of European intrusion in Africa. In the novel, Achebe seeks to use such richness so as to eradicate the illusion portrayed in Western literature - of African culture and its people as primitive and ‘unearthly’ ‘cannibals’: as stated in the novel ‘ Heart of Darkness’ by Joseph Conrad (1899). Through his novel, Achebe seeks to educate the literary world of the truths behind pre-colonial African culture and society; thus, Achebe presents Igbo culture in all its complexities and intricacies.
In doing so, Achebe presents the Igbo culture as one that respects and places great value on the art and skill of conversation. Achebe writes that “among the Igbo culture, the art of conversation is regarded very highly, and proverbs are the palm oil with which words are eaten.” The description of proverbs as “palm oil” is significant as in Igbo culture, palm oil is an essential ingredient when cooking. Palm oil gives food a unique flavor and substance: therefore suggesting that words alone are inadequate and empty without the use of proverbs and folklore. Thus, in Igbo culture, the ability to communicate through story is a necessity. This explains why, in the latter part of the novel; it is the failure and dysfunction of communication between the villagers and the missionaries, which ultimately results in the tragic ruin of Igbo culture. But regardless, Achebe elevates language and the ability to converse to the same level of importance as the food that sustains life; stories thus go beyond mere entertainment and, instead, act to forge clan solidarity and communicate the values upon which culture is based. The emphasis Achebe places on the importance of folklore serves, therefore, not only to reject ‘orientalist’ (Edward W. Said 1978) writings of Africa: by highlighting the complexity of Igbo moral and spiritual values as articulated though the use of proverbs; but also to draw attention to the centrality of stories to all forms of cultural history and morality. This latter point is important as it suggests that Western depictions of pre-colonial African primitivism have not only misinterpreted African culture, but have actively helped to justify Western imperialism by dehumanizing the African ‘Other’.
Achebe also works to discard the adverse European views of Africa by using phrases from the Igbo language to demonstrate the singularity and distinctiveness of the concepts central to the cultural community. In the novel, Achebe uses Igbo phrases such as “Chi”, “Obi”, and “Agbala” – which defy easy translation. This is significant as it suggests that Achebe is presenting the Igbo community authentically; as something which is not easily understood by outsiders, but rich and complex nonetheless. Their dialect is thus the glue through which the social conflicts are negotiated: words are the sustenance of village life. For example during the beginning of the novel, Achebe chooses to describe the protagonist Okonkwo using Igbo proverbs. “Okonkwo’s fame had grown like a bush fire in harmattan … As the elders said, if a child washes his hands he could eat with kings. Okonkwo had clearly washed his hands and so he ate with kings and elders.” Here, Achebe’s use of sophisticated adages – rather than just Standard English – serves to emphasize how much of a prestigious and respected man Okonkwo is in his community. The proverb – “if a child washes his hands he could eat with kings” – is significant as it represents the emotional childishness of Okonkwo. Okonkwo is therefore presented as someone who lacks wisdom, but nevertheless is respected by the village elders for his physical feats and intense masculinity. Ultimately, this presents the Igbo culture as one that is mindless to intellectuality, but rather venerates the physical works of the hand (from the men).
Moreover, Okonkwo could be considered as the life of Igbo culture and he serves as an embodiment of the unique culture and its traditions; protecting its core beliefs and behavioral norms. Therefore in the absence of Okonkwo: all that the Igbo culture stood for is doomed to be eradicated. Hence, Achebe’s description of Okonkwo as a “bush fire” suggests that Okonkwo is what keeps the village culture going: this is similar to later in the novel where it states that he was “popularly called the ‘Roaring Flame”. It seems here that Achebe is highlighting the flaws that exist within the Igbo culture: as Okonkwo is a character who possesses and displays hyper-masculinity: he oppresses anything that is seen as weak and effeminate. This leads him to disastrous family relationships and ultimately, rash violence that not only brings about his own downfall, but also does nothing to repel the cultural changes he is ostensibly fighting to resist. Perhaps Achebe has chosen to portray Igbo culture in this negative light as an acknowledgment that Africa is not perfect in all its ways – there are many blemishes that exist – however even with all its faults, pre-colonial Africa is anything but primitive and inhuman.
Therefore, Achebe is perhaps highlighting that there is little difference between pre-colonial Africa and Western society: both harbour questionable values, but are equally rich and intricate. Ultimately, the novel is not simply an anti-colonial text - but instead refers to the universal human difficulty of establishing an identity amid cultural change and personal hardship, and the complexities which accompany this. We see evidence of this through the character of Nwoye who represents the pluralism of the Igbo culture: some do possess hyper-masculine traits which could be more easily represented as ‘primitive’, but others are more passive and emotionally intelligent - effeminate even. Thus, Nwoye stands not simply as a foil to highlight Okonkwo’s hyper-masculinity, but also to emphasize the range of character types produced by pre-colonial Africa: again rebuking the primitive ‘cannibals’ of Conrad’s description.
Achebe does however offer a potential explanation for Orientalist depictions of pre-colonial Africa: with perceptions of its simplicity deriving perhaps from the naïve innocence underpinning the Igbo’s willingness to welcome the Christian missionaries into their culture. Achebe uses the story of the tortoise and the birds to convey the naivety of the Igbo people: “[the] tortoise had a sweet tongue, and within a short time all the birds agreed he was a changed man…” The story of the tortoise using his “sweet tongue” to deceive the birds acts as an allegory for the way in which the Christian missionaries were able to manipulate the people of Umuofia by playing to the fault lines of Igbo society. Moreover, this cultural vulnerability is foreshadowed by the coming of the locusts in the first half of the novel. A “hazy feeling of sleep” and initial reaction of glee and “surprise” fills the clan due to the presence of the Europeans in Umuofia. The Umuofian community at first sees the missionaries as a joke that will pass: so they remain ignorant of the motives of the missionaries. The villagers fail to acknowledge that the “mighty tree branches” of tradition, solidarity and familial ties will “break from under them” due to the introduction of Christianity. Achebe’s use of the word “branches” is significant, as the branches of a tree is what holds the leaves together. The leaves perhaps represent the villagers of Umuofia whilst the branches signify the pluralistic Igbo culture and traditions: this is what holds the community together as a “mighty tree”. Therefore, when the branches “break away from under them” they cease to be powerful and lose their cohesion as their foundation has been destroyed. Achebe’s use of proverbial language is significant in emphasizing the devastation that is yet to come. The Igbo culture that was once united and prospering, has transformed into a desolate shard of a community that is now “like a startled animal with ears erect, sniffing the silent, ominous air not knowing which way to run”.
IWANT TO INCLUDE THIS. Likewise, the way in which Achebe has structured the different sections in the book is also significant in showing how much the culture is changing. For example, in the first section of the novel, all the chapters are self-contained and it seems as if every chapter in itself tells a full story about the Igbo culture. This represents the time in which there was order, cohesion and normalcy within the community. However, as the novel progresses into the third section: the individual chapters cease to tell its own story and instead there are diverse forms of action and climax in each chapter. This represents the spreading of colonization and chaos that is now unrelenting and cannot be stopped.
One could argue, therefore, that Igbo culture is shown to be primitive; but only in its assumption that the Christian missionary outsiders harbored good intentions. Yet there is, of course, an endearing innocence attached to the Igbo tribe here: and so even in its attitudinal primitivism, Achebe shows African culture to be superior to Western assumptions.
In conclusion then, it is clear that Achebe has great respect and admiration for African culture and all that comes with it; and believes that the world should too - by appreciating African literature and its history. The irony which underpins Achebe’s own ‘mission’ serves to highlight, therefore, not the primitivism of pre-colonial African culture, but rather the naïve and simplistic Western interpretations of this in “Orientalist” literature. He does this through the complexity of Igbo dialectic and proverbial history. Where he does show the Igbo culture to be simplistic, it is only in the form of a tolerant attitude towards other cultures and religions (notably Christianity).