A NARRATOLOGICAL STUDY OF LOLA SHONEYIN’S THE SECRET LIVES OF BABA SEGI’S WIVES AND SEFI ATTAS EVERYTHING GOOD WILL COME

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A NARRATOLOGICAL STUDY OF LOLA SHONEYIN’S THE SECRET LIVES OF BABA SEGI’S WIVES AND SEFI ATTAS EVERYTHING GOOD WILL COME

CHAPTER ONE

INTRODUCTION

Background of the study

Communicative objectives vary from one individual to another, one group to another, one society to another, one region to another and from one situation to another. The use of any meticulous feature of language at any time is usually intentional as language users seek to attain communicative goals. These cumulative modifications in language habits usually result in linguistic disparity.

Stylistics is the ‘study of any situational distinctive use of language and of choices made by individuals and social groups in their usage in all linguistic domains’ (Crystal, 323). Any study of the manner and significance of language use in a literary text in order that it could be of direct consequence in the analysis of that text, is of great benefit if in such an analysis our awareness and sensitivities are awakened to the literary and non-literary use of language and to the aesthetic and social (pragmatic) functions of language. This study therefore centres on matters of interpreting the text with particular attention to the demeaning status of women in the traditional society and the idiosyncrasies of the writer.

The Nigerian feminist novels have moved from the themes of women in village or traditional settings with docile female characters who only look up to men as their benefactor to novels that have vibrant and assertive female characters. The new feminist novels explore new dimensions that would help the woman’s cause. These dimensions include: education and career, activism and participation. The women are no longer the occupiers of the solitary spaces in the kitchen; they are now at the forefront leading other women to achieve their goals.

Feminism in the last six decades has dominated literary discourses around the globe. In Africa and Nigeria in particular, the debates and counter-debates continue to rage; as a result there have arisen dichotomies leading to various shades of the same theory. Nigerian feminist writers and critics have adopted the non-militant version of feminism in order to accommodate the peculiar Nigerian experience. While doing this, the force of the radical version is played down. However, the feminist novel has continued to educate, inform and enlighten the woman to rise and fi ght for her rights. Sitting no longer helps; as the saying goes “a snake will not eat to its fi ll when coiled”. According to Lisa Tuttle (1986) the feminist theory is “the advocacy of women’s rights based on a belief in the equality of the sexes”(p.107). Tuttle’s position agrees with the later views of Charles Nnolim (2009) who argued that feminist writers and critics have “fought successfully for the right of women”(p.47). These positions show that the dominant tenet of feminist writings is the liberation of the woman and the drive toward equality among the sexes.

The Nigerian feminist novel differs from the Western brand of feminism. The differences in ideological perspective have accounted for the different strands of feminism. These strands include: Womanism, Motherism,

Stewanism and Femalism. In spite of the different strands, one thing binds them together: the achievement of the common goal of liberating the Nigerian woman. According to Aduke Adebayo (1996), accepting the emancipating nature of feminism; “the African feminist has discarded its violent and militant approach”(p.4). This also agrees with Elizabeth Ogini’s (1996) position that the new form of Womanism, “desires that the man and the woman should be in harmony in the home and society at large”(p15). The call for a harmonious relationship between the man and woman does not mean or translate to the woman giving up her right. Iniobong Uko (200) sees the theory as “a challenge of the status quo and a confrontation of the daily realities of women and women’s oppression” (pp10-10). The African woman is no more the docile type; she is assertive and at the same time acknowledges the importance of her male counterpart. This is perhaps why Helen Chukwuma (1994) states that “African feminism is accommodationist not exclusive and negativistic. Men remain a vital part of the women’s lives”(p.xvi).

The Nigerian feminist novel came as a counter discourse to the negative image of women in predominantly male authored works. The woman is no longer the femme fatale, a voiceless, mere extension of the man. The feminist novel challenges the society that has conditioned the woman and placed limitations on her.

In the feminist novel in Nigeria, the searchlight in literature has been turned on the wholesome woman who has attracted to herself recognition and acceptance. The feminist novel traces the female journey from ignorance and naivety to experience and selfhood. She now carves a name for herself. She is no longer defi ned by the man, but rather defi nes her role in the society.

Similarly Uko(2008) explains that:

Writings by African women actually transcend the shift from the peripheral to the central positions for women. They are largely concerned with the assertion of self, reaffirmation of female pride, authentication of African womanhood as well as a search for an independent identity. (p.67)

The quest for identity has remained one dominant ethos of the feminist novel in Nigeria. The Nigerian woman now has a name of her own and she no longer feels any pride when her identity is tied to the man. In another sense, Uko(2006) argues:

Evidently, the coming of age of African literature is identifi able by the true and pragmatic feminisation of the literary vision as well as a way of correcting absurd female images in African literature and culture. Here, the female writer explores the inner fi bres of the androgynous ideal, thereby establishing and justifying the position of women (p.82).

As earlier stated, this paper is not intended to plunge us into the controversies that have trailed feminism and its application in African literature and criticism. There are divergent views about this theory. For instance, Maduka (2001) holds that feminism is predominantly a Western ideology (p,227). This paper acknowledges the views of critics like: Chinweizu, T. M. Maduka, Phyllis Chesler (2005) and Julia Annas’(1979). These critics have raised issues that are very controversial and at the same time cogent to a comprehensive understanding of feminist criticism of literature.

1.2 Statement of the problem

Sefi Atta has two major novels to her credit, Everything Good Will Come (2006) and Swallow, (2010). Atta has published a number of plays, among which are: Makinwa’s Miracle (2004), The Engagement (2005), A Free Day (2007), The Cost of Living (2011). The Cost of Living was commissioned for the 2011 Lagos Heritage Festival. The Naming Ceremony was performed during actress Joke Sylva’s 50th birthday in September, 2011. Hagel Ouf Zamfara was premiered at theatre Krefeld Germany; this play is an adaptation of Atta’s short story “Hailstones”. Sefi Atta has remained one of the most prolifi c writers of our time. Her novels in particular are defi ning modus for future prose writing in Nigeria. Her stories are compelling and she brings artistic innovations and experimentations to bear. Her stint with the theatre also helped in enlivening her works. Atta is a bold and courageous writer who is ready to make her mark in the Nigerian literary landscape. Everything Good Will Come won the inaugural Wole Soyinka price for literature in Africa in 2006. Her short story collection News From Home, won the NOMA Award for publishing in Africa in 2009.

The reviews that have trailed the publication of Everything Good will Come attest to Atta’s genius. The Time Literary Supplement observes that the novel “depicts the struggle women face in a conservative society” Sunday Independent observes that the novel is about “the resilience of Lagosians”. These and many other reviews greeted the birth of Everything Good Will Come.

1.3 OBJECTIVE OF THE STUDY

1. To examine feminist tradition in Africa

2. To examine possibilities of harmony in a home without a woman giving up her rights

3. To evaluate the level of victimization of women in a world of unmilitant and non-violent feminism

4. To examine the feminist approach in building the female sphere in the society.

1.4 RESEARCH QUESTION

1. Can one examine feminist tradition in Africa?

2. What about possibilities of harmony in a home without a woman giving up her rights?

3. Can the level of victimization portrayed in Lola the Shoneyin’s secret lives and Sef Attas Everything good will come?

4. What are the feminist approaches in building the female sphere in the society?

1.5 SIGNIFICANCE OF STUDY

This research work shall serve as a reference document, providing a kind of guide for upcoming dramatists and drama practitioners who may wish to focus their arts on the constructive reformation of a society. It shall provide a step-by-step approach to a logical and critical evaluation of the social and political malfunctioning of the society while at the same time suggesting the way forward to solving the society’s problem. The research work shall serve to expose the ills of the society, especially those emanating from bad leadership and political insincerity; opening the worm cans of the oppressors and giving the oppressed the courage to stand up to the challenge of fighting oppression to a standstill in a class conscious society such as ours. It will also serve as a research material for student and other researchers who may wish to carry out research in similar areas.

1.6 SCOPE OF THE STUDY

This study is restricted to a narratological study of lola shoneyin’s the secret lives of baba segi’s wives and sefi attah’s everything good will come, with the project itself using lola shoneyin’s the secret lives of baba segi’s wives and sefi attah’s everything good will come as case study.

1.7 METHODOLOGY

This research shall employ both the primary and secondary sources of data collection. The MLA parenthetical style is adopted to provide written acknowledgement for the sources of information.

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