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To cite this article: Richard M. Wafula & Chris L. Wanjala (2017) Narrative Techniques in
Chinua Achebe’s Things Fall Apart, Journal of Social Sciences, 50:1-3, 62-69
To link to this article: http://dx.doi.org/10.1080/09718923.2017.1311740
ABSTRACT This paper begins from the standpoint that most critical works on Chinua Achebe, especially his first novel
Things Fall Apart, have concentrated on themes and characters. While this is important in the analysis of the novel,
August 2017
narrative technique is equally important. Through using analytical perspectives proposed by Gary Morson, alongside close
reading and content analysis of the primary text, the researchers argue that Achebe used techniques that predicted,
juxtaposed comparatively and in contrastive positions as the narrative devices that enabled him to communicate the
controlling ideas of his novel effectively.
Foreshadowing draws the reader’s attention to one of them. Consequently, many possible sto-ries
the design of the author. To illustrate how fore- are constructed or intimated at the same time.
shadowing works, Morson uses Sophocles’ Oe- In associating sideshadowing with the works
dipus the King (1996) as an example. He points out of Dostoevsky, Morson revisits and modifies
that in this play, foreshadowing conveys the some of the ideas of Mikhail Bakhtin in the nov-
temporality that governs the real world. This is due el. Bakhtin (1981) argued that the dialogic na-
to the fact that the future is never in question ture of language is best manifested in the novel.
(Morson 1996: 59). The myth of Oedipus’ patri-cide According to Bakhtin (1981), novel is the most
and incest is already known and the audi-ence is sensitive genre of literature because it is respon-
aware of the outcome from the beginning. The sive and sensitive to the flux of social history.
significance of Oedipus’ choices as the play The language of the novel is most adaptable to
develops is underlined by the fact that the audi-ence the changing social attitudes. In the novel, tes-
know the consequences of his actions. tifies Bakhtin, every utterance is spoken in some
The application of foreshadowing in Oedi- dialect or speech that carries or implies the atti-
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pus the King is marked differently from its use in tude of those who speak it at a particular time.
other works of literature. In Charles Dickens’ Bakhtin says that the process of creating nov-
Hard Times (1989) for instance, the image of fire els is anti-canonical because it does not permit
that Louisia saw frequently adumbrated her sup- generic monologue. On the contrary, it persists in
pressed sensitivity and vivacity which later bursts the interplay of languages which speak for them-
out and led to the collapse of her mar-riage to selves. The process of creating novels is linked to
popular forms of expression that makes mean-ing
Bounder. But the reader is not obvious-ly aware
relative to the formal ways of communicating.
of this until much later in the action of the novel.
The novel, says Bakhtin, is a way of presenting
This, then, implies that foreshadow-ing does not the world in a mode that is ever examining itself
mean only what the audience or the readers know and subjecting its established norms to review.
in total in regard to the results of the narration. It Based on these observations, Bakhtin concludes
may also mean those signs that the author posts that Fyodor Dostoevsky’s novels are the best
at certain key stages of the work, later enable the manifestations of the dialogic genre (1984). In
reader to understand the characters’ actions or Crime and Punishment (1932) for example,
choices in their totality. Bakh-tin witnesses Dostoevsky’s surrender to his
char-acters. Characters are not mouthpieces of
Sideshadowing the author. They are subjects with consciousness
independent of the author. They defy the author’s
In order for the author to avoid treating a attempt to compel them stick into a preconceived
narrative as a mechanical product whose build- category. Raskolnikov, the most dominant char-
ing blocks are predictable from the start to the acter in Crime and Punishment is not an automa-
finish, he introduces sideshadowing. Sideshad- ton in the hands of Dostoevsky. He has the liber-
owing is a device that conveys the sense that ty to create his ideas and consciousness inde-
events recounted may not have happened. It pendent of the author.
casts a shadow of other possibilities of what While Gary Morson agrees with Bakhtin’s
could have happened. Morson observes that notions of dialogism in Dostoevsky’s novels,
while readers see what did happen, they also he observes that Bakhtin does not specifically
see the image of what else could have identify and describe the technique that Dosto-
happened. In this way the hypothetical shows evsky employs to create those novels. It is
through the actual and so achieves a kind of against this background that Morson posits and
shadowy exist-ence (Morson 1994: 1-18). illustrates that Dostoevsky uses sideshadow-
By allowing the reader to visualize possibil- ing to write his novels (p. l0). Morson persists
ities that would have taken place, straight lines of that sideshadowing enables Dostoevksy to
cause and effect are blurred. According to write free novels in the sense that they refuse
Morson, Fyodor Dostoevsky’s novels best typ-ify to obey a conscious design.
how sideshadowing is applied technically.
Morson insists that in Dostoevsky’s works too Backshadowing
many facts are presented with an air of mystery
and no clear explanation. Characters’ voices are Backshadowing is a reversal of foreshadow-
heard simultaneously without privileging any ing. Viewing and evaluating the present in terms
64 RICHARD M. WAFULA AND CHRIS L. WANJALA
of the entire narrative project reveals that all sage of time. Consequently, he provides the nar-
along, the past had contained signs of what rative frame of the novel which is the building
eventually happened. Gary Morson explains that block of foreshadowing, sideshadowing and
those signs that are visible now, could have been backshadowing. Okonkwo is created in such a
seen then. In effect, the present as the future of way that he combines both mythical and con-
the past was already immanent in the past (Mor- ventional human qualities. As a mythical figure,
son 1994: 234). According to Morson, backshad- Okonkwo stands for the life and transformation
owing arises out of privileging one’s own time of his society. Most of the values that Okonkwo
over other’s time and using it to turn the past into exhibits and cherishes are also cherished by his
a well-knit story. As a result, loose ends which society. Foremost among these values are hard-
suggest other possibilities are drastically reduced work and bravery. Although Okonkwo is not the
or eliminated. Backshadowing is most
original founder of the nine villages of Umuofia,
pronounced in the ideas of people who think of
history in determinate terms. Official Soviet cul- the new life he brings to wrestling matches con-
stitute the society’s sense of pride and self -iden-
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(p. 61), shoots dead Ogbuefu Ezeudu’s son (p. Obierika displays his leadership qualities
124), and finally commits suicide (p. 207). The here. Although he is ordered to shut up by a
violations of these prohibitions, especially the court messenger, his role clearly shows that he
last, turn Okonkwo into an outcast. Okonkwo’s is a diplomat and represents the idea that
personal choices alienate his attribute as a fore- change would have come differently had
shadow and create a potential for sideshadow- Umuofia been led by people with more liberal
ing. Okonkwo’s failings that occur at certain im- views with re-gard to customary practices.
portant places in the action of the novel gives rise
to Obierika as an alternative role model for the The Locust Invasion
people of Umuofia. Obierika is more rational and
contemplative than Okonkwo. Through his Within the wider framework of Okonkwo’s
moderate character, the researchers see a per- status as a foreshadow and Obierika’s continual
sonality who could easily supplant Okonkwo’s
but subtle presence as a sideshadow, Achebe uses
mythical status. After Okonkwo is banished from
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Epigraph from W.B. Yeats as a Foreshadow derlined in both the poem and the novel, the epi-
and a Sideshadow graph foreshadows what takes place in the nov-
el. In other words, a study of Things Fall Apart
Achebe takes the title Things Fall Apart from the in terms of ‘The Second Coming’ is feasible.
first part of ‘The Second Coming’, a poem by W.B. Much as Achebe borrows the motif of disin-
Yeats (Norman 1984). That part reads as follows: tegration from Yeats, he illustrates it artistically in
Tuning and turning in the widening gyre keeping with his unique circumstances. ‘The Sec-
The falcon cannot hear the falconer; ond Coming’ is a poem composed of twenty- two
Things Fall Apart; the center cannot hold; lines while Things Fall Apart is a full- length nov-
Mere anarchy is loosed upon the world. el. Secondly, the first part of Things Fall Apart
Yeats’ poem provides the frame for under- depicts a society in which life is regulated by
standing how Achebe constructs his novel at the clearly definable norms whereas the poem plung-es
level of ideas. The strategic placement of the the reader directly into an estranged world.
epigraph makes it a necessary adjunct for a crit- From this, it is explicit that the writer of the
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ical reading of the novel. The part of the poem novel works with possibilities rather than sub-
that has been quoted foregrounds the contents of serviently follow the framework provided by the
the novel. As a result of having the quota-tion, a poem. Besides exploring Yeats’ concern in a dif-
sense of anticipation is created as to the inter- ferent genre, Achebe modifies Yeats’ world in a
textual linkage between the poem and the novel. fundamental way. In the ‘Second Coming’,
To appreciate Things Fall Apart fully, one is Chris-tian religion is being replaced by a
called upon by analytical necessity to under- nameless pagan religion. On the contrary, in
stand the controlling idea of the poem. Things Fall Apart, it is the pagan Gods that are
A close reading of ‘The Second Coming’ being re-placed by Christianity. Achebe makes
shows that the poet is concerned with demon- Yeats’ idea of civilization become subjective and
strating that no civilization can remain static and conse-quently, have a distinctive validity for his
evolve forever towards perfection. A civilization peo-ple. Embedded in the fact that the poem
must collapse from within and be destroyed from fore-shadows what happens in the novel are the
without. Yeats insists that what replaces a civili- many possibilities that Achebe can choose from
zation opposes itself. The falcon’s loss of con- and use to explore the theme of the destruction of
tact implies human beings’ separation from ide- the civilizations. One such instantiation of choice
als that have enabled them to control their lives. is how colonialism and Christianity ‘slouch to-
It involves an estrangement from traditional ties wards Umuofia’ and turn its world upside down.
that have kept life workable. The image of ‘the Achebe is even more particular than this by cre-
blood-dimmed tide’, which does not appear in ating a character, Okonkwo through whom he
the epigraph but in the later parts of the poem, dramatizes this theme.
refers to the terrible destructive forces that are
unleashed towards the end of an era. It is likely Backshadowing in Things Fall Apart
referring to war. The state of affairs that emerges
from Yeats’ description is that of helplessness. While the author employs foreshadowing side
Achebe appears to operate along similar by side with sideshadowing as the cases cited above
lines. The first part of Things Fall Apart de- illustrate, backshadowing is not jux-taposed with
scribes village life in which human beings are sideshadowing in a direct and im-mediate way. A
basically in harmony with themselves and with typical instance of backshadow-ing is shown in part
the nature. Their society is held together by cul- two of the novel when Obieri-ka visits Okonkwo in
tural values that have evolved over a long time. exile. Obierika tells about the killing of a peaceful
However, germs of decline and collapse emerge explorer by the people of Abame. The impact of the
from within and without. Traditions such as hu- act is a complete anni-hilation of their village.
man sacrifice and the throwing of twin children Commenting on the fact that in killing a man who
in the forest undermine the cohesiveness of the had said nothing, the people of Abame had been
society. Colonial administration and Christiani-ty unwise, Uchendu, the oldest man among Obierika’s
hasten the process of disintegration that would audience says:
have otherwise taken a longer time. Be-cause the Never kill a man who says nothing... Moth-
decay of civilizations is strongly un- er Kite once sent her daughter to bring food.
NARRATIVE TECHNIQUES IN CHINUA ACHEBE’S THINGS FALL APART 67
She went and brought back a duckling. ‘You have Based on the Commissioner’s thoughts, read-
done very well’, said themother to the daughter, ers can see in retrospect why Achebe describes in
‘but tell me, what did the mother of the duckling detail the various aspects of the culture of
say when you swooped and car-ried its child Umuofia, These aspects include marriage cus-
away?’ ‘It said nothing’, replied the young kite. toms, legal institutions and burial ceremonies.
‘It just walked away’. ‘You must return the Besides elucidating the values embedded in the
duckling’, said the mother. There is something cultural practices he defines, the author parades
ominous behind the silence (p. 140). the ugly side some of them embody. Among the
This anecdote is part of the folk wisdom of figures that Achebe uses to identify and describe
Achebe’s people. On account of the fact that it is both the beautiful and the detestable side of his
traditional and therefore already known, the people people’s culture, proverbs are most foreground-
of Abame should have invoked its au-thority before ed. Proverbs are employed to demonstrate that all
deciding to kill the explorer. In kill-ing the explorer, the actions that are done in the community have
they flout the didactic purpose of the anecdote and some justification no matter what an out-sider
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subsequently deserve ven-geance. The anecdote might think of them. Okonkwo, for example
thus contextualizes the fate of the people of Abame justifies his participation in the killing of Ikeme-
into a well-knit story. It ‘foreshadows after the fact’ funa by invoking the authority of the proverb, “A
that the people of Abame are destroyed because child’s fingers are not scalded by a piece of hot
they do not pay heed to their own well-known yam which its mother puts in his mouth” (Things
guidelines. Fall Apart p.67). Okonkwo applies this proverb
Besides Uchendu’s anecdote, the author to argue his case that by killing Ikeme-funa, he is
consciously uses backshadowing to justify his merely carrying out the orders of the Earth
entire artistic project. This is openly shown in the Goddess and so, he cannot be punished for being
last part of the book. On discovering that a good messenger. Achebe’s excur-sion into the
Okonkwo has committed suicide, the District cultural provinces of Umuofia is, therefore,
Commissioner changes from a resolute adminis- intended to testify that the District Commissioner
trator to a student of African anthropology. He himself should have known more about those
instantly proceeds researching the customs of provinces than he does. The Dis-trict
Umuofia using the elders as his informants. The Commissioner backshadows what has al-ready
ultimate statement that he makes after a few min- happened and enables the reader to per-ceive the
utes of cross-examination is revealing: entire book as a well-calculated re-sponse to his
The story of this man who killed a messen- statements.
ger and hanged himself would make interest- Beyond this point, Achebe writes Things Fall
ing reading. One could almost write a whole Apart as a reaction to other complete works. In
chapter on him, perhaps not a whole chapter particular, he reacts to Joyce Cary’s novel:
but a reasonable paragraph, at any rate. One of the things that set me thinking was
There was so much else to include and one Joyce Cary’s novel, Mister Johnson, which
must be firm on cutting out the details. He had was praised so much, but it was clear to me
already chosen the title of the book after much that it was a most superficial picture of not
thought. The Pacification of the Primitive only the country- but even of the Nigerian
Tribes in the Lower Niger (p. 208-209). character, so I thought if this was famous then
The District Commissioner’s statement casts a perhaps some-one ought to try and look at this
strong shadow on the pedagogical motives behind from inside (Quoted in Pieterse p. 4.).
Achebe’s undertaking to write Things Fall Apart. In Through entering into dialogue with extant
this context, the author criticizes the colonial texts, Achebe’s novel places those other texts
administrator for assuming he knows much about into perspective. Things Fall Apart becomes the
African culture when he in fact knows very little. last tentative systematic statement on the Afri-
He satirizes the administrator light-heartedly for can in the ensuing exchange. Incidentally, al-
intending to summarize the whole novel in just one though Achebe aims to answer Cary back, his
paragraph. Since the adminis-trator depicted in this project becomes too large for one book. In addi-
episode is a certain type, he represents all the tion to Things FallApart, Achebe sequentially
colonial officials who lack an insider’s knowledge wrote Arrow of God (1959) and No Longer At
of the African culture. Ease (1961). These works in some way discuss
68 RICHARD M. WAFULA AND CHRIS L. WANJALA
transformations that the African societies under-go. Things Fall Apart. Moreover, they show that
Arrow of God depicts how traditional religious the pedagogical concerns of the novel are
practices disintegrate. On the other hand, No Long- deep-ly embedded in the techniques the author
er At Ease discusses the dilemma that faces the has used to weave his story.
young educated Nigerian who has ties both in the
rural areas and in town. Since these works react RECOMMENDATIONS
fundamentally to Joyce Cary’s novel, they are ex-
isting sideshadows of Things Fall Apart. Gary Morsons’ work is rarely applied to
Later critical observations by Achebe him- the reading of African literature. Yet
self have tended to verify the fact that his writ- researchers in this paper have shown that this
ing is largely functional. Achebe has been theorist pro-vides insights into a narrative
quot-ed in this regard as saying that he would theory which can be used to understand other
be quite satisfied if his novels (especially those
ones he set in the past) did no more than teach fictional works in-cluding those written by the
African authors. The version of narratology
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