As discussed in the Analysis section for Chapter 3, the chi concept is more complex than a personal deity or even fate, another frequently used synonym. As the book progresses, it gradually picks up other nuances. Achebe translates chi as personal god when he first mentions Unoka's bad fortune. Can any attentive reader of Things Fall Apart remain unfamiliar with words and concepts represented by chi, egwugwu, ogbanje, and obi? Such Igbo terms as chi and ogbanje are essentially untranslatable, but by using them in the context of his story, Achebe helps the non-Igbo reader identify with and relate to this complex Igbo culture.Ĭhi, for example, represents a significant, complex Igbo concept that Achebe repeatedly refers to by illustrating the concept in various contexts throughout the story. The Igbo vocabulary is merged into the text almost seamlessly so the reader understands the meaning of most Igbo words by their context.
By incorporating Igbo words, rhythms, language, and concepts into an English text about his culture, Achebe goes a long way to bridge a cultural divide. An understanding of Igbo culture can only be possible when the outsider can relate to the Igbo language and terminology.Īchebe solves this problem by incorporating elements of the Igbo language into his novel. In the novel, the Igbo ask how the white man can call Igbo customs bad when he does not even speak the Igbo language. How can he present the African heritage and culture in a language that can never describe it adequately? Indeed, one of the primary tasks of Things Fall Apart is to confront this lack of understanding between the Igbo culture and the colonialist culture. Yet by using English, Achebe faces a problem. Writers who write in their native language must eventually allow their works to be translated, often into English, so readers outside the culture can learn about it. By using English - in which he has been proficient since childhood - he reaches many more readers and has a much greater literary impact than he would by writing in a language such as Igbo.
WHITE MAN SPEAKING PIDGIN ENGLISH SERIES
To further his aim of disseminating African works to a non-African audience, Achebe became the founding editor for a series on African literature - the African Writers Series - for the publishing firm Heinemann.Īchebe presents the complexities and depths of an African culture to readers of other cultures as well as to readers of his own culture. It is this dignity that African people all but lost during the colonial period, and it is this that they must now regain.
they had poetry, and above all, they had dignity. their societies were not mindless, but frequently had a philosophy of great depth and value and beauty. In a 1964 statement, also published in Morning Yet on Creation Day, Achebe comments thatĪfrican people did not hear of culture for the first time from Europeans. In contrast to Western writers and artists who create art for art's sake, many African writers create works with one mission in mind - to reestablish their own national culture in the postcolonial era. should aim at fashioning out an English which is at once universal and able to carry his peculiar experience." Achebe accomplishes this goal by innovatively introducing Igbo language, proverbs, metaphors, speech rhythms, and ideas into a novel written in English.Īchebe agrees, however, with many of his fellow African writers on one point: The African writer must write for a social purpose. In a 1966 essay reprinted in his book Morning Yet on Creation Day, he says that, by using English, he presents "a new voice coming out of Africa, speaking of African experience in a world-wide language." He recommends that the African writer use English "in a way that brings out his message best without altering the language to the extent that its value as a medium of international exchange will be lost. For these writers, a "foreign" language can never fully describe their culture.Īchebe maintains the opposite view. Some of these writers argue that writing in their native language is imperative because cultural subtleties and meanings are lost in translation.
Writers in Third World countries that were formerly colonies of European nations debate among themselves about their duty to write in their native language rather than in the language of their former colonizer.
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