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In his famous novel “Things Fall Apart,” renowned author Chinua Achebe paints a
unique portrait of Africa that is completely separate from the colonial representations of the
continent. In the first sixteen chapters, Achebe represents village life in the varying shades of
light and darkness, which offers a balanced perspective, which does not simply romanticize the
continent, but explores it from every side and angle. In a profound sense, Achebe’s descriptive
terms in the first chapter aligns almost perfectly with Toni Morrison’s perspective of the white
gave. He describes Umuofia village and the village life in purely African terms, which enhance
the authenticity of the text. Morrison’s concept of white gave implies the act of looking at the
world from a unique perspective, which is not affected by the worldviews of the white man
(Lister 124). Remarkably, Achebe fulfills the white gave by looking at life from the point of view
of an African village.
One telling aspect of locating meaning outside the confines of the white gave comes to
the surface during the description of the fight between Okonkwo and Amalinze. The narrator
reveals that the village had never witnessed a duel of that scale since “the founder of their land
engaged a spirit of the wild for seven days and seven nights,” (Achebe 1). Counting days
separately from nights is a concept of time that aligns with an African worldview. Therefore,
Achebe reaffirms an African perspective of time by separating the days and the nights. He also
reclaims many other aspects of reality that determined the patterns of life in the traditional
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African society. Reading through the subsequent chapters reveals an unremitting effort by the
author to redraw the mental image of Africa in a humane, realistic, and authentic perspective.
Notably, Achebe laces his story with a variety of cultural tropes that raise the authenticity
of the story within an African realm. In the third chapter, the author mentions a conversation
between Okonkwo’s father and an oracle regarding the misfortune and poverty that had afflicted
the family for a long time. Instead, the oracle reminds his father about his laziness, which had
denied his family the delights of affluence. This part of the book highlights the traditional
African values of hard work, honesty, and dedication. Such representation of Africa and Africans
is conspicuously missing in the literature of renowned authors such as Joseph Conrad and
Rudyard Kipling, who portrayed Africa as a continent that was distinctively backward and
uncivilized (Moore 41). The net difference between the foreign writers and Achebe captures
The introductory part of chapter sixteen signals the tension that was growing between the
villagers and the missionaries together with their followers. The priestess of Agbala, Chielo
seemed to speak for the majority in his expression of disgust against the Christian converts that
were transgressing against their cultural gods. The priestess describes the converts as “the
excrement of the clan, and the new faith was the mad dog that had come to eat it up,” (Achebe
201). The description goes against the grain of mainstream European portrayal of the role of
Christianity in Africa. The European writers suggested that the new faith aimed at civilizing the
savages, whereas Achebe portrays the same as largely disruptive. Once more, this class of
perception confirms Achebe’s resolve to stay away from the white gaze as understood in
Morrison’s terms.
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Works Cited
Achebe, Chinua. Things Fall Apart. Oxford: Heinemann Educational, 2000. Print.
Lister, Rachel. Reading Toni Morrison. Santa Barbara, Calif: Greenwood Press, 2009. Print.
Moore, Gene M. Joseph Conrad's Heart of Darkness: A Casebook. Oxford: Oxford University