Category: Literary research articles

The literature of any culture reflects the unique experiences and perspectives of its people. African literature, for example, is characterized by a strong sense of storytelling, a rich oral tradition, and a focus on the experiences of marginalized communities. In contrast, foreign literature often reflects the experiences and perspectives of the dominant culture. In this essay, we will conduct a comparative assessment of African and foreign literatures, exploring their similarities and differences in terms of themes, style, and cultural context.

One of the most significant differences between African and foreign literatures is their focus on different cultural experiences and perspectives. African literature is often characterized by a strong sense of community and an emphasis on the collective experiences of its people. In contrast, foreign literature tends to focus more on individual experiences and perspectives. This is not to say that foreign literature is devoid of community or collective experiences, but rather that these themes are less central to the overall narrative.

Another important difference between African and foreign literatures is their use of language and style. African literature is often characterized by a strong sense of oral tradition and a focus on the power of storytelling. Many African writers use a conversational, lyrical style that is rooted in their cultural traditions. In contrast, foreign literature often reflects the dominant language and style of the culture in which it is produced. This can result in a more formal, academic style that is less accessible to readers who are unfamiliar with the cultural context.

Despite these differences, there are also many similarities between African and foreign literatures. Both forms of literature explore universal themes such as love, loss, identity, and belonging. They also share a common goal of using storytelling to illuminate the human experience and to create a sense of empathy and understanding between people of different cultures and backgrounds.

One of the most significant similarities between African and foreign literatures is their ability to serve as a means of cultural exchange and dialogue. African literature, in particular, has played an important role in challenging Western stereotypes and prejudices about African cultures and peoples. By sharing their stories and perspectives, African writers have helped to create a more nuanced and complex understanding of African experiences and identities.

Foreign literature, on the other hand, has also played an important role in exposing readers to new cultures and perspectives. Works by authors such as Gabriel Garcia Marquez, Chinua Achebe, and Toni Morrison have helped to create a more global understanding of the human experience and have inspired readers to explore the histories and cultures of other peoples and places.

In conclusion, African and foreign literatures share many similarities and differences in terms of their themes, style, and cultural context. While African literature is characterized by a strong sense of community and oral tradition, foreign literature tends to focus more on individual experiences and dominant cultural perspectives. However, both forms of literature share a common goal of using storytelling to create empathy and understanding between people of different cultures and backgrounds. By exploring the similarities and differences between these two forms of literature, we can gain a greater appreciation for the rich diversity of human experiences and perspectives.

Buchi Emecheta was a Nigerian author who wrote extensively about the experiences of African women and the challenges they faced in a patriarchal society. Her works explore themes such as identity, gender, race, colonialism, and migration. In this essay, we will conduct a thematic and stylistic evaluation of Emecheta’s literary works and explore the techniques she used to convey her messages.

Emecheta’s writing is characterized by a strong sense of realism and a focus on the everyday experiences of her characters. Her novels, such as “The Joys of Motherhood” and “Second-Class Citizen,” depict the struggles of African women as they navigate the challenges of poverty, racism, and cultural expectations. Emecheta’s work often reflects her own experiences as a Nigerian immigrant in the United Kingdom, and her writing is marked by a strong sense of authenticity and personal insight.

One of the key themes in Emecheta‘s work is the struggle for women’s rights and gender equality. In “The Joys of Motherhood,” for example, the protagonist, Nnu Ego, is forced to navigate a patriarchal society that values women only for their ability to bear children. She faces constant pressure from her husband and her community to have more children, even as she struggles to provide for her family and maintain her own identity. Through Nnu Ego’s story, Emecheta highlights the ways in which women are oppressed and marginalized in a male-dominated world.

Another important theme in Emecheta’s work is the impact of colonialism and migration on African societies and individuals. In “Second-Class Citizen,” the protagonist, Adah, moves from Nigeria to England in search of a better life. However, she faces numerous obstacles, including racism, poverty, and cultural isolation. Through Adah’s experiences, Emecheta explores the complexities of migration and the ways in which it can disrupt and displace individuals and communities.

Emecheta’s writing is also marked by her use of vivid imagery and symbolism. In “The Joys of Motherhood,” for example, the title itself is a powerful symbol of the conflicting emotions that Nnu Ego experiences as a mother. While she loves her children deeply, she also struggles with the sacrifices she must make to raise them in a society that does not value her as a person. Similarly, in “Second-Class Citizen,” Adah’s dream of becoming a writer represents her desire for self-expression and independence, even as she faces numerous obstacles in achieving her goals.

Another important aspect of Emecheta’s style is her use of language and dialogue to create a sense of authenticity and realism. Her characters speak in a natural, conversational style that captures the rhythms and nuances of African English. In “The Joys of Motherhood,” for example, the characters’ dialogue reflects the rich diversity of Nigerian cultures and languages, creating a vivid and immersive reading experience.

In conclusion, Buchi Emecheta’s literary works are marked by a strong sense of realism and a focus on the everyday experiences of African women. Through her exploration of themes such as gender, race, colonialism, and migration, she highlights the challenges and struggles faced by marginalized communities in a changing world. Emecheta’s writing is characterized by her use of vivid imagery, symbolism, and authentic dialogue, creating a powerful and compelling reading experience that continues to resonate with readers today.

“Arrow of God” is a novel by Chinua Achebe that was first published in 1964. The book tells the story of a village in southeastern Nigeria during the early years of colonialism. The novel revolves around the conflicts between Ezeulu, the chief priest of Umuaro, and the British colonial administrators who seek to impose their will on the people of the village.

The book is set in the 1920s and 1930s and explores the tensions between the traditional religious beliefs of the Igbo people and the Christian faith brought by the British. The story also touches on themes of power, corruption, and the clash between different cultures.

At the heart of the novel is the character of Ezeulu, who is chosen by his people to be the chief priest of the earth goddess, Ulu. Ezeulu is a proud and stubborn man who resists the attempts of the British to impose their will on his people. He believes that the traditions of his people must be upheld and that any attempt to change them is a violation of their culture.

As the novel progresses, Ezeulu becomes increasingly isolated from his people and is eventually imprisoned by the British. His imprisonment and the subsequent events that follow lead to a tragic end for both Ezeulu and the village of Umuaro.

One of the main themes of “Arrow of God” is the clash between different cultures and the impact of colonialism on traditional societies. Achebe portrays the British as being insensitive to the beliefs and customs of the Igbo people and imposing their own way of life on them. He also shows how the introduction of Christianity led to a divide within the community, with some members embracing the new faith while others resisted it.

Another theme explored in the novel is the corrupting influence of power. Ezeulu, who is initially seen as a wise and respected leader, becomes increasingly obsessed with maintaining his authority and begins to make decisions that are detrimental to his people. His actions ultimately lead to his downfall and the destruction of his village.

Overall, “Arrow of God” is a powerful and thought-provoking novel that explores important themes related to culture, power, and colonialism. Achebe’s vivid descriptions of the Igbo way of life and his portrayal of the impact of colonialism on their society make this book an essential read for anyone interested in African literature and history.

A novel is a narrative work of prose fiction that tells a story about specific human experiences over a considerable length.

Prose style and length, as well as fictional or semi-fictional subject matter, are the most clearly defining characteristics of a novel. Unlike works of epic poetry, it tells its story using prose rather than verse; unlike short stories, it tells a lengthy narrative rather than a brief selection. There are, however, other characteristic elements that set the novel apart as a particular literary form.

Key Takeaways: What Is A Novel?

A novel is a work of prose fiction that tells a narrative over an extended length.
Novels date as far back as 1010’s Tale of Genji by Murasaki Shikibu; European novels first appeared in the early seventeenth century.
Novels overtook epic poetry and chivalric romances as the most popular mode of storytelling, with an emphasis on the personal reading experience.
Today, novels come in a wide array of subgenres

Definition of a Novel

For the most part, novels are dedicated to narrating individual experiences of characters, creating a closer, more complex portrait of these characters and the world they live in. Inner feelings and thoughts, as well as complex, even conflicting ideas or values are typically explored in novels, more so than in preceding forms of literature. It’s not just the stories themselves that are more personal, but the experience of reading them as well. Where epic poetry and similar forms of storytelling were designed to be publicly read or consumed as an audience, novels are geared more towards an individual reader.
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The following traits must be present for a work to be considered a novel:

Written in prose, as opposed to verse. Narrators may have different degrees of knowledge or different points of view (first person versus third person and so on). While stylized novels such as epistolary novels do exist, the key distinction here is between prose and verse.
Of considerable length/word count. There is no specific word count that automatically makes a work a novel, but in general, a short novel would be considered a novella, and even shorter than that would be short fiction.
Fictional content. Semi-fictionalized novels (such as historical works inspired by true events or persons) exist, but a work of pure non-fiction would not be classified as a novel.
Individualism, both on the page and for the intended audience.

In the everyday vernacular, the novel has come to be associated most closely with fiction, as opposed to nonfiction. For the most part, that association stands: not all fiction is novels, but all novels are fiction. A non-fiction prose work that is of the same length as a novel could fall into several other categories, such as historiography, biography, and so on.

Although a novel is typically a work of fiction, many novels do weave in real human history. This can range from full-fledged novels of historical fiction, which focus on a specific era in history or depict semi-fictional narrative about real historical persons, to works of fiction that simply exist in the “real” world and carry that baggage and implications. There also are early modern works of historical nonfiction that were embellished with unconfirmed traditions or made-up speeches for dramatic effect. Despite this, for most purposes we can assume that, when we’re talking about novels, we’re talking about works of narrative fiction.

Types of Novels

Novels come in all styles imaginable, with every author bringing their own unique voice to the table. There are a handful of major subgenres that tend to make up a large share of the market, although there are many other genres (and mash-ups of genres) out there. A few of the major types of novels you might need to know about:

Mystery novels

Mystery novels revolve around a crime that must be solved, often a murder but not always. The traditional format will have a detective—either professional or amateur—as the protagonist, surrounded by a group of characters who help solve the crime or are suspects. Over the course of the story, the detective will sift through clues, including false leads and red herrings, to solve the case. Some of the best-known novels of all time fall into the mystery genre, including the Nancy Drew and Hardy Boys series, Sir Arthur Conan Doyle’s Sherlock Holmes novels, and Agatha Christie’s novels. Christie’s And Then There Were None is the world’s best-selling mystery novel.

Science Fiction and Fantasy

One of the more popular genres of novels is science fiction and fantasy, which both deal with speculative world building. The lines between the two are often blurred, but in general, science fiction tends to imagine a world that’s different because of technology, while fantasy imagines a world with magic. Early science fiction included the works of Jules Verne and continued on through George Orwell’s seminal classics such as 1984; contemporary science fiction is a highly popular genre. Some of the best-known novels in Western literature are fantasy novels, including the Lord of the Rings series, The Chronicles of Narnia, and Harry Potter; they owe their debt to European epic literature.

Horror/thriller novels

Thriller novels are occasionally combined with other genres, most often with mystery or science fiction. The defining characteristic is that these novels are often designed to induce a sense of fear, suspense, or psychological horror in the reader. Early versions of this genre included The Count of Monte Cristo (a revenge thriller) and Heart of Darkness (a psychological/horror thriller). More contemporary examples might be the novels of Stephen King.

Romance

Romance novels of the present day have some things in common with “romances” of the past: the idea of romantic love as an end goal, the occasional scandal, intense emotions at the center of it all. Today’s romances, however, are more specifically focused on telling a story of a romantic and/or sexual love between characters. They often follow highly specific structures and are all but required to have an optimistic or “happy” resolution. Romance is currently the most popular novel genre in the United States.

Historical Fiction

Just like its name suggests, historical fiction is simply a fictional story that takes place at some real, past time in human history. Some instances of historical fiction involve fictional (or semi-fictional) stories about actual historical figures, while others insert wholly original characters into real-life events. Iconic works of historical fiction include Ivanhoe, A Tale of Two Cities, Gone with the Wind, and The Hunchback of Notre Dame.

Realist Fiction

Realist fiction is, quite simply, fiction that eschews heightened genre or style to attempt to tell a story that “could” take place in the world as we know it. The focus is on representing things truthfully, without romanticization or artistic flourishes. Some of the best-known realist authors include Mark Twain, John Steinbeck, Honoré de Balzac, Anton Chekov, and George Eliot.

Novel Structure and Elements

A novel can be structured in a myriad of ways. Most commonly, novels will be structured chronologically, with story segments divided into chapters. However, this is not the only structural option for authors.

Dividing Up the Story

Chapters tend to revolve around some small portion of the novel that is unified by a character, theme, or piece of plot. In larger novels, chapters may be grouped together into even larger sections, perhaps grouped by time period or an overarching portion of the story. The division into smaller “chunks” of story is one of the defining elements of a novel; a story that’s short enough to not need such divisions is likely not lengthy enough to qualify as a full-lengthy novel.

Timelines and Points of View

Authors may choose to structure novels in a variety of different ways. Instead of telling a story chronologically, for instance, the story may toggle between different time periods in order to maintain suspense or make a thematic point. Novels may also switch between the perspectives of multiple characters, rather than focusing on a single character as the sole protagonist. A novel may be told in the first person (narrated by a character) or in the third person (narrated by an outside “voice” with varying degrees of knowledge).

Three-Act Structure

Regardless of the time frame, a novel’s plot will often follow what is known as the three-act structure. The opening chapters will be concerned with acquainting readers with the main cast of characters and the world of the story, before a specific incident, typically referred to as the “inciting incident,” shakes up the status quo and launches the “real” story. From that point, the story (now in “Act 2”) will enter a series of complications as the protagonist pursues some goal, encountering obstacles and smaller goals along the way. At the midpoint of the story, there will often be some major shift that raises the stakes, all leading up to the emotional and narrative climax towards the end of the novel. “Act 3” concerns itself with this finale and the fallout.

Themes and Analysis of Elechi Amadi’s The Concubine

Synopsis

The Concubine by Elechi Amadi is an interesting novel replete with several issues bothering on communal life, love, superstition, death, widowhood and fate. All of these have been well-crafted into the main thrust of the story, which makes the novel one of Africa’s masterpieces ever, both in terms of content and form.

The Concubine by Elechi Amadi is an interesting novel replete with several issues bothering on communal life, love, superstition, death, widowhood and fate. All of these have been well-crafted into the main thrust of the story, which makes the novel one of Africa’s masterpieces ever, both in terms of content and form.

The Joys of Motherhood themes are the issues discussed by Buchi Emecheta in the novel. Through these issues, we might come to terms with our own reality and see for ourselves why people act as they do.

From cultural beliefs to poverty, education, religion and marriage, Buchi Emecheta gives us a complete idea of what motherhood is to the African, from different perspectives: the old and new views.

The Joys of Motherhood Themes

Explained below are the different Joys of Motherhood themes that Buchi Emecheta seems to pass across to us brilliantly in a way that will make us understand ourselves and our world better.

1. Theme of Cultural Belief

The novel, The Joys of Motherhood, revolves around Nnu Ego, a young woman so deeply rooted in the custom and tradition of her people, she wouldn’t stop reminding everyone who cares to listen how great her father is. In fact, her life throughout the story shows a woman who doesn’t want to let go of her old life for the new one. Even the fact that she now lives in Lagos where a woman also has to work and supports the family does not really bother her. Another interesting aspect of this is the belief in chi, a personal god responsible for the people’s fate. When Nnu Ego consults the dibia, a herbalist regarding her infertility, she is told her chi is responsible. Little wonder then that after losing her first male child, she goes haywire. Emecheta lets us into her thinking thus:
It would all soon be over, right there under the deep water that ran below Carter Bridge. Then she would be able to seek out and meet her chi, her personal god, and she would ask her why she had punished her so. She knew her chi was a woman, not just because to her way of thinking only a woman would be so thorough in punishing another. Apart from that, had she not been told many times at home in Ibuza that her chi was an slave woman who had been forced to die with her mistress when the latter was being buried? So the slave woman was making sure that Nnu Ego’s own life was a catalogue of disasters. (p. 9)
This clearly expresses the belief in reincarnation in the novel.

Suggested: The Joys of Motherhood by Buchi Emecheta: A Plot Analysis

2. Theme of Poverty

As one of the Joys of Motherhood themes, Emecheta seems to drive home a point that life in a rural area is more prosperous than in the city. Even Nnu Ego won’t stop making reference to this whenever Nnaife, her husband, can’t live up to his expectations. Apart from that, is it not ironical that a poor Nnaife who slaves for a white master as a laundryman could take on more than one wife? Even more interesting is an idea that sometimes poverty is self-inflicted. For instance, had Nnaife been reasonable with spending the money he makes each time, life could have been a little easier on them. And when we talk of poverty in the novel, we cannot but make reference to the very touching scene of Oshia’s illness. The boy looks so thin Nnu Ego fears he is going to die until Iyawo Itsekiri, her neighbour comes to their rescue. Meanwhile, Nnu Ego had earlier believed the boy was suffering from fever, but Iyawo Itsekiri’s diagnosis soon proves her wrong after giving her a plate of porridge to feed him. It turns out the poor boy is actually suffering from malnutrition. Here’s how Emecheta aptly puts it:
Iyawo Itsekiri’s fears proved quite unfounded. Oshia did not wait to be invited. He crawled from the mat on which he was lying, and at his efforts to reach the bowl of porridge his mother wept – he was like a moving carcass. But he refused her help, and reached the wooden tray just as Iyawo brought in the spoons. All of them, with the exception of the baby who was peacefully sleeping on the bed, pounced on the stew. Nnu Ego swore that she had never tasted anything so tasty. (p. 105)

3. Theme of Education

Of all the themes in the novel, this appears the most emphatically established. The essence of getting an education is so drummed into our ears as if it is the magic wand to instant success. Well, when we consider that the story is set in a pre-independence Nigeria, we cannot ignore the significant role of education, most especially one earned outside of the country, in nation-building. So apart from being very proud of his son Oshia for doing well in school and their unrealistic expectations from him when he completes Standard Six, his going abroad on a scholarship for further education makes Nnu Ego and Nnaife superheroes in spite of their disappointment. But the question really is, could the Owulums have misprioritised their reasons for sending their sons to school? Also, when after all the sacrifices made to pave the way for the boys to be educated, all Nnaife could ever get in return is Oshia’s rudeness, we are faced with yet another question about the freedom that comes with being educated. Even Nnu Ego only gets to enjoy the dividend of her sons’ education posthumously through a fanciful burial. Could this be a way to tell us to not think of education as an investment that needs to instantly yield returns? Or to put in it another way, how much of education is worth the sacrifice for it? Similarly, it is touching that Nnu Ego has to seek Mama Abby’s help each time she needs to visit the post office or the army barracks. With this, education really is light.

Suggested: Themes of Sefi Atta Everything Good Will Come

4. Theme of Religion

In Nigeria, nay Africa, religion is everything – it is hope, it is a community, it is opportunities, it is also a lifestyle. In Buchi Emecheta’s The Joys of Motherhood, it is all of these and more to different characters in the story. To Nnu Ego religion is a belief system, it is custom and tradition that must be adhered to. Despite her living in Lagos where people would rather bother themselves on how to make ends meet Nnu Ego still believes her chi is responsible for all her woes. For Nnaife however, even though he lives in the city and has really not left everything tradition, he really has less time for church-going. Even being a Christian won’t stop him from inheriting his late brother’s four wives though he knows his new religion doesn’t accept polygamy. How about the dibia Nnu Ego runs to for help for protection of Oshia from anyone who might want to harm him out of jealousy and for Nnaife against the ghost-playing-the-guitar story which Adim later finds laughable? Obviously, to that dibia, religion puts food on his table as sacrifices will have to be made with food items and some money. To further establish the state of religion among many Nigerian city dwellers, Emecheta’s use of the story of Nnaife going to the church to offer a bribe to one of the pastors who has promised to help him find a job is a pointer to the fact that most people commit to a religion for the material gains they derive from it. After all, people attend church or mosque activities with the hope they might have the rare opportunity to network with the rich and the influential in society. So as one of Buchi Emecheta’s The Joys of Motherhood themes, this is pointing to the notion of religion by the African.

5. Theme of Marriage

The issue of marriage is archetypal in African Literature. You hardly read a truly African novel without one. From Mariama Ba’s So Long a Letter, Ama Ata Aidoo’s Anowa to Chinua Achebe’s Things Fall Apart and Elechi Amadi’s The Concubine this is a recurrent issue. This is probably because marriage in Africa presents a unique perspective that sets the tone for a highly resourceful idea about an ideal situation. Of course, the ideal situation is that a marriage should be mutually beneficial to both the husband and the wife. But in an African setting – in this case, a Nigerian setting – marriage means social approval; it means long term servitude and sacrifice. In Africa, an infertile woman is often mocked, molested and abandoned. In short, having children (even in poverty) is an achievement and approval of a social standard. It is this Nnu Ego demonstrates throughout the story. Had she not cared much about what people would say and how scornful she would look in the eyes of the people if she has just one child, she could have subscribed to the idea of family planning and probably could have escaped the abject poverty that they swim in. But due to societal judgment of her, she sees herself a failure when she loses Ngozi, her first male child, and therefore attempts to commit suicide. Even much more interesting is the commodification of childbearing. To an average African, the more children you have, the richer you will be. This is why to Nnaife, his male children, Oshia and Adim are an investment he is waiting to cash on when the time is ripe. Isn’t that the reason he gets mad at Oshia when the latter decides to further his education rather than stop at Standard Six to take over the financial responsibilities in the home? Not to mention his impatience to marry off the twins – Taiwo and Kehinde – so that at least he could reap the fruit of his labour through their bride price. As one of the Joys of Motherhood themes, marriage is presented as an institution where childbearing is the ultimate achievement of the wife whether she is happy or not.

In all, Buchi Emecheta is one of Africa’s finest writers and her treatment of some of Nigeria’s prominent issues in The Joys of Motherhood is not only artistically powerful but also didactically relevant.

Project topics with thematic analysis means that the project will bring out the important themes and analyze them in their order of importance.

below are list of project topics ideas with themes and analysis

Project topics on themes and Analysis

• Themes of Harvest of Corruption
• Themes of “Ambush”
• The Plot of The Blood of a Stranger
• Analysis of the Poem “Ambush” by Gbemisola Adeoti
• The Plot of Harvest of Corruption
• Summary of the poem, “Ambush” by Gbemisola Adeoti
• Analysis of “The Dining Table” by Gbanabom Hallowell
• Themes of The Blood of a Stranger
• Thematic Concerns of Ama Ata Aidoo’s The Dilemma of a Ghost
• Marriage in the African Context: Ama Ata Aidoo’s Anowa

Senegalese author and feminist, Mariama Bâ, was born on the 29th of April 1929. Mariama’s early life encompasses the struggle to get educated in an atmosphere where females were denied access to equal opportunities as their male counterparts. It is however ironic that young Mariama was born into a home of highly educated parents in Dakar, where she lived with her family. Her father was a civil servant who later became one of the first ministers of the State – Health Minister, in 1956. Her grandfather at that period interpreted for the French Occupation Regime.

 

However, Mariama’s privileged upbringing was cut short when her mother died. So she had to be groomed by her maternal grandparents who were steeped in the cultural and traditional way of living. All of these experiences restricted her exposure, little wonder she only spent her early years in the French school, combining Quranic studies with the French studies. But through these times, Bâ‘s father never left her. He became her second teacher. He made sure she was able to read French fluently, and took her on tour while he worked for sometimes in Dahomey, now the Benin Republic.

Despite the countering forces of Bâ‘s maternal grandparents, her father ensured he gave his best to see her presentable and fulfilled through education, the best legacy. Berthe Maubert, Mariama’s French teacher, proved helpful too. She taught her the basics, the reading and writing, and was supportive throughout that period.

Throughout her Arabic school, Bâ was focused and determined to succeed despite apparent challenges. She excelled as the best student with the highest score in a West African competition, automatically gaining admission into one of the best French training schools – the Ecole Normale de Rufisque.

After her secondary studies, Mariama trained as a teacher. She taught for 12 years (1947 – 1959) before she was transferred to the Regional Inspectorate of teaching as an educational inspector. There her writing muse was born. In her early works, she acknowledged the efforts of her teachers and grandmother; all were great influence to her writing prowess.

Suggested: Biography of Chimamanda Ngozi Adichie

 

Une si Longue Lettre, translated, as So Long a Letter, was Bâ‘s first novel published in 1979. The novella expresses Mariama’s empathy for African women as they go through the unnecessary, overwhelming exercise of traditional superstitions. She depicts the sorrow a widow (Ramatoulaye), faces at the death of her husband (Moudou Fall) which forces her to resign and resume mourning with his younger wife. So Long a Letter, like twilight, became popular and widely accepted especially Africa women. Written in French, the novella was translated into English, Dutch, German, Japanese, Russian, and Swedish within a short time. Abiola Irele described the piece as “the most deeply felt presentation of the female condition in African fiction.” In addition, the work also won the first prize in Noma for African Publishing in 1980.

Mariama Bâ was said to have strongly opposed feminism and supported women’s empowerment instead. She wrote and spoke in local and international newspapers about this. Her immense contributions were felt in the nooks and crannies of the African continent as issues treated in the novella resonated with an unimaginable number of people, mostly married women.

Apart from So Long a Letter, Mariama also came up with Political Function of African Literature in 1981. She states firmly in it the strength of a woman in the development of Africa. She believes every woman contributes to the growth and welfare of the nation. Mariama would not have stopped at that, however, a prolonged health condition terminated her progress shortly before her second novel, The Scarlet Song, was published in 1986. At the time, she was a mother of nine, married to Obeye Diop, a member of the parliament in Senegal whom she later divorced. So up till her death, she was a dogged and focused single parent.

To recognise Mariama Bâ’s immense contributions to Senegalese literature, a school founded in 1977 by Leopold Sedar Senghor, first president of Senegal, was named after her. The school stood as a learning centre for selected Senegalese students who did excellently well in their entry examinations. Students from a11 regions of Senegal had the opportunity to attend the school all their remaining years.

Mariama Bâ, who died on August 17, 1981, was an epitome of courage and steadfastness, not only in her personal life, but also in her strategic contributions to Africa and particularly women’s world.

The Virtuous Woman by Zaynab Alkali is a love story about the easy and principled life of a young beautiful woman named Nana Ai, as she discovers love at first sight and the strangeness that often accompanies such a feeling.

The village of Zuma has just been blessed with the news that two of their daughters, Laila and Hajjo have made it into the prestigious Her Majesty’s College at Birni Dala. Even though the two girls are not the first to enjoy this privilege (already a student there is Nana Ai, but now on a holiday), the entire village often takes the pride that one of their own is in the popular school. This is because Her Majesty’s College is the kind of school mostly attended by children born with a silver spoon in their mouths.

But the girls have got different reasons they are excited about attending the new school. For Hajjo, a sixteen-year-old girl, who lives with her grandmother, the admission is an escape from a life she believes she does not deserve. She is not only maltreated by the rest of the members of the family but she is also poorly fed and clothed. In her extended family home, she feels like an outcast. For this reason, she so longs for the journey. Laila, on the other hand, is a spoilt brat and a forward girl. She is loquacious and uncouth. She is Hajjo’s cousin. She longs for the journey to the new school so she could be free to do as she pleases.

But the two younger girls have already been placed under the care of a more mature and principled Nana. Time for the journey and the girls are accompanied to the bus park by Nana’s father, Baba Sani, who never stops reminding Nana never to relent in exhibiting all the good virtues he has taught him.

But as soon as the old man goes back home, Laila gets into her element. She goes into the nearby bush only to resurface with a painted face and lips, looking like a slut. She believes that is the only way they can get a free ride and gets to their destination on time. A car stops by but Nana will not allow them to take it because the man in the car does not look responsible.

When they get to the Secretariat the Secretary is not around. They meet the clerk-receptionist instead who is hostile to them. But of course, Laila enjoys the company of two boys, Abubakar and Bello. Bello is a rich boy while Abubakar is from a poor home. They are both students at King’s College. When the girls go back to check the secretary the next day they find out he is the man whose free ride they had rudely turned down the other day. The man is to give them the transport fare and an escort. As a way of punishing the girls, especially Nana for her rudeness, the secretary gives them Mallam Jauro, a seventy years old man as an escort.

Suggested: Read The Synopsis of Everything Good Will Come

The journey is a long one and everybody on the bus has started to know one another. The driver is a very careful one, unlike those of other two buses speeding in front of them, Allah Kiyaye and Allah Seriki. When the rain begins, the two buses with the reckless drivers are now stuck in a little ditch, making it impossible for other vehicles including the one the girls are travelling in to pass. So together all the passengers in the three buses are stuck.

Now bound together by fate, all the passengers have to come to terms with how to survive their predicament. As they are in the middle of a forest with no dwelling on sight, they have to make themselves happy. To start with, they need to have something to eat. At first, nobody wants to volunteer to go to the nearby village to get food. However, Bello and Abubakar volunteer and each passenger contribute the money with him or her and the boys go with the teacher’s bicycle to get them food. When they return everybody eats and has enough and Musa Doggo treats everyone to nice music and entertains them with his jest. The man becomes a jester and a lively person to disguise his unfortunate situation about which Nana is told by the mother of the twins.

When the road is dry, the lorries are finally moved back on track and the journey resumes. As though what happened earlier was a warning, the two carelessly speeding Lorries are later to be found wrecked in a ghastly motor accident. Almost all the passengers in the two buses are dead, except for the drivers. Some other people sustain a very serious injury. Abubakar is dead but Bello is alive with an injury. The injured ones, including Bello, are taken to the hospital.

The girls are on the train to Birni Dala. While on the train, Nana and the two girls, Hajjo and Laila, sit in front of a sleeping boy who appeared to have sustained some injuries. Because he uses a newspaper to cover his face, none of the girls can recognise him. An army officer aboard the train relates well with the girls and invites them for lunch. The two girls consent except for Nana, who is bent on not collecting anything from a stranger. While the girls are gone with the officer, Nana recognises the sleeping man as Bello. Both get along well and have a hearty conversation, with each unable to conceal his or her affection towards the other, even though none of them mentions it directly. It is very clear now that Nana is in love with Bello but is very shy to express it. Both understand this and decide to communicate only telepathically. When the train arrives Birni Dala, Nana reads the letter sent them by the old man, Mallam Jauro, their escort. It also comes with some money. They are happy to know that at last, the man is still alive, despite all he had been through during the long journey.