From which you might deduce that my ancestors approved of ostentation. And you would be right. But they would probably have argued if the charge was made by their modern counterparts that in their day wealth could only be acquired honestly, by the sweat of a man’s brow. They would probably never have given what I believe was the real but carefully concealed reason, namely that given their extreme republican and egalitarian world-view it made good sense for the community to encourage a man acquiring more wealth than his neighbours to squander it and thus convert a threat of material power into harmless honorific distinction, while his accumulated riches flowed back into the commonwealth.
Apparently the first missionaries who came to my village went to Udo Osinyi to pay their respects and seek support for their work. For a short while he allowed them to operate from his compound. He probably thought it was some kind of circus whose strange presence added lustre to his household. But after a few days he sent them packing again. Not, as you might think, on account of the crazy theology they had begun to propound but on the much more serious grounds of musical aesthetics. Said the old man: “Your singing is too sad to come from a man’s house. My neighbours might think it was my funeral dirge.”
So they parted—without rancour. When my father joined the missionaries the old man does not seem to have raised any serious objections. Perhaps like Ezeulu he thought he needed a representative in their camp. Or perhaps he thought it was a modern diversion which a young man might indulge in without coming to too much harm. He must have had second thoughts when my father began to have ideas about converting him. But it never came to an open rift; apparently not even a quarrel. They remained very close to the end. I don’t know it for certain, but I think the old man was the very embodiment of tolerance, insisting only that whatever a man decided to do he should do it with style. I am told he was very pleased when my father, a teacher now, had a wedding to which white missionaries (now no longer figures of fun) came in their fineries, their men and their women, bearing gifts. He must have been impressed too by the wedding feast, which might not have approached his own legendary performance but was by all accounts pretty lavish.
Before my father died, he had told me of a recent dream in which his uncle, long long dead, arrived at our house like a traveller from a distant land come in for a brief stop and rest and was full of admiration for the zinc house my father had built. There was something between those two that I find deep, moving and perplexing. And of those two generations—defectors and loyalists alike—there was something I have not been able to fathom. That was why the middle story in the Okonkwo trilogy as I originally projected it never got written. I had suddenly become aware that in my gallery of ancestral heroes there is an empty place from which an unknown personage seems to have departed.
I was baptized Albert Chinualumogu. I dropped the tribute to Victorian England when I went to the university although you might find some early acquaintances still calling me by it. The earliest of them all—my mother—certainly stuck to it to the bitter end. So if anyone asks you what Her Britannic Majesty Queen Victoria had in common with Chinua Achebe, the answer is: They both lost their Albert! As for the second name, which in the manner of my people is a full-length philosophical statement, I simply cut it in two, making it more businesslike without, I hope, losing the general drift of its meaning.
I have always been fond of stories and intrigued by language—first Igbo, spoken with such eloquence by the old men of the village, and later English, which I began to learn at about the age of eight. I don’t know for certain, but I have probably spoken more words in Igbo than English but I have definitely written more words in English than Igbo. Which I think makes me perfectly bilingual. Some people have suggested that I should be better off writing in Igbo. Sometimes they seek to drive the point home by asking me in which language I dream. When I reply that I dream in both languages they seem not to believe it. More recently I have heard an even more potent and metaphysical version of the question: In what language do you have an orgasm? That should settle the matter if I knew.
We lived at the crossroads of cultures. We still do today; but when I was a boy one could see and sense the peculiar quality and atmosphere of it more clearly. I am not talking about all that rubbish we hear of the spiritual void and mental stresses that Africans are supposed to have, or the evil forces and irrational passions prowling through Africa’s heart of darkness. We know the racist mystique behind a lot of that stuff and should merely point out that those who prefer to see Africa in those lurid terms have not themselves demonstrated any clear superiority in sanity or more competence in coping with life.
But still the crossroads does have a certain dangerous potency; dangerous because a man might perish there wrestling with multiple-headed spirits, but also he might be lucky and return to his people with the boon of prophetic vision.
On one arm of the cross we sang hymns and read the Bible night and day. On the other my father’s brother and his family, blinded by heathenism, offered food to idols. That was how it was supposed to be anyhow. But I knew without knowing why that it was too simple a way to describe what was going on. Those idols and that food had a strange pull on me in spite of my being such a thorough little Christian that often at Sunday services at the height of the grandeur of “Te Deum Laudamus” I would have dreams of a mantle of gold falling on me as the choir of angels drowned our mortal song and the voice of God Himself thundering: This is my beloved son in whom I am well pleased. Yet, despite those delusions of divine destiny I was not past taking my little sister to our neighbour’s house when our parents were not looking and partaking of heathen festival meals. I never found their rice and stew to have the flavour of idolatry. I was about ten then. If anyone likes to believe that I was torn by spiritual agonies or stretched on the rack of my ambivalence, he certainly may suit himself. I do not remember any undue distress. What I do remember is a fascination for the ritual and the life on the other arm of the crossroads. And I believe two things were in my favour—that curiosity, and the little distance imposed between me and it by the accident of my birth. The distance becomes not a separation but a bringing together like the necessary backward step which a judicious viewer may take in order to see a canvas steadily and fully.
I was lucky in having a few old books around the house when I was learning to read. As the fifth in a family of six children and with parents so passionate for their children’s education, I inherited many discarded primers and readers. I remember A Midsummer Night’s Dream in an advanced stage of falling apart. I think it must have been a prose adaptation, simplified and illustrated. I don’t remember whether I made anything of it. Except the title. I couldn’t get over the strange beauty of it. “A Midsummer Night’s Dream.” It was a magic phrase—an incantation that conjured up scenes and landscapes of an alien, happy and unattainable land.
I remember also my mother’s Ije Onye Kraist which must have been an Igbo adaptation of Pilgrim’s Progress. It could not have been the whole book; it was too thin. But it had some frightening pictures. I recall in particular a most vivid impression of the valley of the shadow of death. I thought a lot about death in those days. There was another little book which frightened and fascinated me. It had drawings of different parts of the human body. But I was primarily interested in what my elder sister told me was the human heart. Since there is a slight confusion in Igbo between heart and soul I took it that that strange thing looking almost like my mother’s iron cooking pot turned upside down was the very thing that flew out when a man died and perched on the head of the coffin on the way to the cemetery.
I found some use for most of the books in our house but by no means all. There was one arithmetic book I smuggled out and sold for half a penny which I needed to buy the tasty elele some temptress of a woman sold in the little market outside the school. I was found out and my mother, who had never had cause till then to doubt my honesty—laziness, yes, but not theft—received a huge shock. Of course she redeemed
the book. I was so ashamed when she brought it home that I don’t think I ever looked at it again, which was probably why I never had much use for mathematics.
My parents’ reverence for books was almost superstitious; so my action must have seemed like a form of juvenile simony. My father was much worse than my mother. He never destroyed any paper. When he died we had to make a bonfire of all the hoardings of his long life. I am the very opposite of him in this. I can’t stand paper around me. Whenever I see a lot of it I am seized by a mild attack of pyromania. When I die my children will not have a bonfire. The kind of taste I acquired from the chaotic literature in my father’s house can well be imagined. For instance, I became very fond of those aspects of ecclesiastical history as could be garnered from The West African Churchman’s Pamphlet—a little terror of a booklet prescribing interminable Bible readings morning and night. But it was a veritable gold mine for the kind of information I craved in those days. It had the date of consecration for practically every Anglican bishop who ever served in West Africa; and even more intriguing, the dates of their death. Many of them didn’t last very long. I remember one pathetic case (I forget his name) who arrived in Lagos straight from his consecration at St. Paul’s Cathedral and was dead within days, and his wife a week or two after him. Those were the days when West Africa was truly the white man’s grave, when those great lines were written of which I was at that time unaware:
Bight of Benin! Bight of Benin!
Where few come out though many go in!
But the most fascinating information I got from Pamphlet, as we called it, was this cryptic entry: “Augustine, Bishop of Hippo, died 430.” It had that elusive and eternal quality, a tantalizing unfamiliarity which I always found moving.
I did not know that I was going to be a writer because I did not really know of the existence of such creatures until fairly late. The folk stories my mother and elder sister told me had the immemorial quality of the sky and the forests and the rivers. Later, when I got to know that the European stories I read were written by known people, it still didn’t help much. It was the same Europeans who made all the other marvellous things like the motor car. We did not come into it at all. We made nothing that wasn’t primitive and heathenish.
The nationalist movement in British West Africa after the Second World War brought about a mental revolution which began to reconcile us to ourselves. It suddenly seemed that we too might have a story to tell. “Rule Britannia!” to which we had marched so unselfconsciously on Empire Day now stuck in our throat.
At the university I read some appalling novels about Africa (including Joyce Cary’s much praised Mister Johnson) and decided that the story we had to tell could not be told for us by anyone else no matter how gifted or well intentioned.
Although I did not set about it consciously in that solemn way, I now know that my first book, Things Fall Apart, was an act of atonement with my past, the ritual return and homage of a prodigal son. But things happen very fast in Africa. I had hardly begun to bask in the sunshine of reconciliation when a new cloud appeared, a new estrangement. Political independence had come. The nationalist leader of yesterday (with whom it had not been too difficult to make common cause) had become the not so attractive party boss. And then things really got going. The party boss was chased out by the bright military boys, new idols of the people. But the party boss knows how to wait, knows by heart the counsel Mother Bedbug gave her little ones when the harassed owner of the bed poured hot water on them: “Be patient,” said she, “for what is hot will in the end be cold.” What is bright can also get tarnished, like the military boys.
One hears that the party boss is already conducting a whispering campaign: “You done see us chop,” he says, “now you see dem chop. Which one you like pass?” And the people are truly confused.
In a little nondescript coffee shop where I sometimes stop for a hamburger in Amherst there are some unfunny inscriptions hanging on the walls, representing a one-sided dialogue between management and staff. The unfunniest of them all reads—poetically:
Take care of your boss
The next one may be worse.
The trouble with writers is that they will often refuse to live by such rationality.
First published in New Letters, vol. 40, Kansas City, October 1973; subsequently in Morning Yet on Creation Day, Doubleday Anchor Books, 1975.
WRITING OF THE KIND I DO is relatively new in my part of the world and it is too soon to try and describe in detail the complex of relationships between us and our readers. However, I think I can safely deal with one aspect of these relationships which is rarely mentioned. Because of our largely European education our writers may be pardoned if they begin by thinking that the relationship between European writers and their audience will automatically reproduce itself in Africa. We have learnt from Europe that a writer or an artist lives on the fringe of society—wearing a beard and a peculiar dress and generally behaving in a strange, unpredictable way. He is in revolt against society, which in turn looks on him with suspicion if not hostility. The last thing society would dream of doing is to put him in charge of anything.
All that is well known, which is why some of us seem too eager for our society to treat us with the same hostility or even behave as though it already does. But I am not interested now in what writers expect of society; that is generally contained in their books, or should be. What is not so well documented is what society expects of its writers.
I am assuming, of course, that our writer and his society live in the same place. I realize that a lot has been made of the allegation that African writers have to write for European and American readers because African readers where they exist at all are only interested in reading textbooks. I don’t know if African writers always have a foreign audience in mind. What I do know is that they don’t have to. At least I know that I don’t have to. Last year the pattern of sales of Things Fall Apart in the cheap paperback edition was as follows: about 800 copies in Britain; 20,000 in Nigeria; and about 2,500 in all other places. The same pattern was true also of No Longer at Ease.
Most of my readers are young. They are either in school or college or have only recently left. And many of them look to me as a kind of teacher. Only the other day I received this letter from Northern Nigeria:
Dear C. Achebe,
I do not usually write to authors, no matter how interesting their work is, but I feel I must tell you how much I enjoyed your editions of Things Fall Apart and No Longer at Ease. I look forward to reading your new edition Arrow of God. Your novels serve as advice to us young. I trust that you will continue to produce as many of this type of books. With friendly greetings and best wishes.
Yours sincerely,
I. BUBA YERO MAFINDI
It is quite clear what this particular reader expects of me. Nor is there much doubt about another reader in Ghana who wrote me a rather pathetic letter to say that I had neglected to include questions and answers at the end of Things Fall Apart and could I make these available to him to ensure his success at next year’s school certificate examination. This is what I would call in Nigerian pidgin “a how-for-do” reader and I hope there are not very many like him. But also in Ghana I met a young woman teacher who immediately took me to task for not making the hero of my No Longer at Ease marry the girl he is in love with. I made the kind of vague noises I usually make whenever a wise critic comes along to tell me I should have written a different book to the one I wrote. But my woman teacher was not going to be shaken off so easily. She was in deadly earnest. Did I know, she said, that there were many women in the kind of situation I had described and that I could have served them well if I had shown that it was possible to find one man with enough guts to go against custom?
I don’t agree, of course. But this young woman spoke with so much feeling that I couldn’t help being a little uneasy at the accusation (for it was indeed a serious accusation) that I had squandered a rare opportunity for education on a whimsical and frivolo
us exercise. It is important to say at this point that no self-respecting writer will take dictation from his audience. He must remain free to disagree with his society and go into rebellion against it if need be. But I am for choosing my cause very carefully. Why should I start waging war as a Nigerian newspaper editor was doing the other day on the “soulless efficiency” of Europe’s industrial and technological civilization when the very thing my society needs may well be a little technical efficiency?
My thinking on the peculiar needs of different societies was sharpened when not long ago I heard an English pop song which I think was entitled “I Ain’t Gonna Wash for a Week.” At first I wondered why it should occur to anyone to take such a vow when there were so many much more worthwhile resolutions to make. But later it dawned on me that this singer belonged to the same culture which in an earlier age of self-satisfaction had blasphemed and said that cleanliness was next to godliness. So I saw him in a new light—as a kind of divine administrator of vengeance. I make bold to say, however, that his particular offices would not be required in my society because we did not commit the sin of turning hygiene into a god.
Needless to say, we do have our own sins and blasphemies recorded against our name. If I were God I would regard as the very worst our acceptance—for whatever reason—of racial inferiority. It is too late in the day to get worked up about it or to blame others, much as they may deserve such blame and condemnation. What we need to do is to look back and try and find out where we went wrong, where the rain began to beat us.
Let me give one or two examples of the result of the disaster brought upon the African psyche in the period of subjection to alien races. I remember the shock felt by Christians of my father’s generation in my village in the early 1940s when for the first time the local girls’ school performed Nigerian dances at the anniversary of the coming of the gospel. Hitherto they had always put on something Christian and civilized which I believe was called the Maypole dance. In those days—when I was growing up—I also remember that it was only the poor benighted heathen who had any use for our local handicraft, e.g., our pottery. Christians and the well-to-do (and they were usually the same people) displayed their tins and other metalware. We never carried water pots to the stream. I had a small cylindrical biscuit-tin suitable to my years while the older members of our household carried four-gallon kerosene tins.