Kalra 1 Suveer Kalra Professor Amrita Narayanan Literature and the World 08 October 2023 Shaping Gender Roles: Culture, Choices, and Habits in Things Fall Apart Throughout history, assigning gender roles has been a topic of great significance. The biological sex of a person at birth has historically been used by various civilizations to assign them to particular gender roles. However, the idea that gender roles are solely determined by birth is not universal, and Chinua Achebe's book "Things Fall Apart" offers a chance to investigate the notion that gender roles are not determined at birth but rather shaped by specific habits and behaviors within the context of Igbo society. This thesis argues that gender roles are not predetermined at birth but rather are impacted by cultural practices, individual preferences, and habits, questioning the idea of rigorously defined gender roles. Okonkwo's personal decisions about his wives and their positions in his family also show how he deliberately defines his gender roles within his family. To elevate his rank within his clan and to establish power inside his home, he marries many wives and rules over them cruelly. Achebe writes, " No matter how prosperous a man was, if he was unable to rule his women and his children (and especially his women) he was not really a man" (Achebe 38). This text demonstrates how Okonkwo's choices to adhere to conventional gender standards are what motivate him to take several wives and rule over them. Ezinma's character serves as evidence for the claim that gender roles in Igbo society are impacted by personal choices and actions rather than being predetermined at birth. Despite being a woman in a patriarchal environment, Ezinma exhibits traits that her father Kalra 2 strongly values, like intelligence and resilience. The text reads: “And after a pause, she said: ‘Can I bring your chair for you?’ ‘No, that is a boy’s job.’ Okonkwo was especially fond of Ezinma” (33). Her eagerness to participate in activities classified as "a boy's job" goes against traditional gender norms. Her father's rigid commitment to societal gender standards, however, limits her autonomy and reinforces the patriarchal system by discouraging her desires. The tale of Ezinma serves as a potent reminder that gender identity is a complex interplay of intrinsic characteristics, personal choices, and societal expectations that ultimately contests and redefines the gender structures that have long existed in Igbo society. In Umuofia, it was imperative for a man to be able to cultivate yams in order to prove their masculinity. Achebe writes, “Yam, the king of crops, was a very exacting king… the women planted maize, melons and beans between the yam mounds” (25). According to the text, yam is a far better crop than other crops and is grown around them, implying that it surrounds and dominates other crops much like males control women in Umofian society. Yams were also farmed solely by the male and were a sign of honor because they required hard effort that women were considered incapable of doing. “Yam stood for manliness, and he who could feed his family on yams from one harvest to another was a very great man indeed” (25). Yams are not just a staple food, but also a representation of success, power, and masculinity. The idea that yams "stood for manliness" implies that a person's capacity to grow and produce yams for their family is intimately connected to his position as a man in the society. Unoka's predilection for the flute is viewed as a feminine feature stressing gentleness over the conventionally assumed qualities of masculinity in a society where the drum represents masculinity, strength, and societal significance. Drums serve as a metaphor for the men in the community,throughout the novel, serving as the heartbeat of the community. "It was like the pulsation of its heart. It throbbed in the air, in the sunshine, and Kalra 3 even in the trees" (32). "One of the things every man learned was the language of the hollowed-out wooden instrument" (88). The importance of mastering the drums initially shows the inferiority of flutes to Umuofia. Every male in Umuofia was required to learn how to play the drum, therefore Unoka's divergence from that custom solidified the impression that he was unmanly. The demeaning term "agbala" reinforced this idea by classifying him as either a woman or a man without a title, stressing the cultural norms that created these beliefs. Thus, despite the fact that he was born a man, Unoka's musical preference and his apparent lack of initiative both contributed to his portrayal as unmanly. Dedication, perseverance, and an affinity for violence were seen as symbols of traditional manhood in the Igbo community as portrayed in the book. However, Nwoye's preference for the gentle and natural stories told by his mother contradicted these expectations. "Nwoye knew that it was his right to be masculine and to be violent, but somehow he still preferred the stories his mother used to tell." the text states (39). Nwoye's choice to convert to Christianity, which went against the traditions and beliefs of his Igbo community, furthered the idea that he had feminine traits. Nwoye's openness to accept a new theory was regarded as unmanly in a society where males were expected to be strong, uncompromising, and unyielding in their commitment to ancient rituals. Okonkwo's lament, "How could he have begotten a woman for a son?" (112) reflects his disbelief and disappointment in Nwoye's departure from the expected path of masculinity. Thus, despite being born a man, Nwoye finds it difficult to act like one in his father's eyes. When Okonkwo is informed that Ikemefuna must be killed, a respected elder advises him not to participate in the murder of his adopted son because of their strong relationship.. However, Okonkwo decides to participate in the event that marks the beginning of his terrible emotional and psychological fall because he is petrified of coming across as weak. The act Kalra 4 traumatizes Okonkwo, but he cannot bear the thought of being seen as weak and emasculate. For instance, the line that follows makes it clear that he is in a conflicted emotional state: “‘How can a man who has killed five men in battle fall to pieces because he has added a boy to their number? Okonkwo, you have become a woman indeed’” (47). In a way, Okonkwo's worst-case scenario—becoming frail and emasculated—is ironically, becoming an unavoidable reality for him. He therefore feels that he is becoming a woman even though, he is born a man. The story emphasizes the negative effects of deviating from these gender standards by showing how people like Unoka and Nwoye experience humiliation and disappointment as a result of not fitting in. Characters like Okonkwo, in contrast, struggle inside as they follow these standards despite clashes with their feelings. In conclusion, “Things Fall Apart” offers a complex tapestry of individuals and circumstances that contradict the idea of fixed gender roles based only on birth. Instead, it draws attention to the intricate interactions among social expectations, personal decisions, and cultural practices that shape these positions. This narrative serves as a valuable lens through which to examine the fluidity and evolution of gender roles within Igbo society and prompts us to question the rigid definitions that have prevailed throughout history. Kalra 5 Works Cited Achebe, Chinua. Things Fall Apart. Penguin, 2001.
