CHAPTER ONE
GENERAL INTRODUCTION
1.1 Introduction
Literature, as both mirror and beacon, holds the profound ability to illuminate history's hidden
corners and unveil the unspoken stories of human existence. Aiwanose Odafen’s Tomorrow I
Become a Woman stands as an emblem of this remarkable power. Set against the backdrop of the
Nigerian-Biafra Civil War, this novel is a testament to the resilience of the human spirit, the
intricacies of love and conflict, and the imprints of historical tumult upon the canvas of individual
lives.
Tomorrow I Become a Woman is an unapologetic and unflinching dive into a period of Nigerian
history that forever altered the nation's trajectory. Through the lives of its vibrant and multifaceted
characters, this novel delves into the themes of war, nationhood, identity, love, and the enduring
quest for meaning amidst chaos.
The significance of this novel reverberates through multiple dimensions. It emerges as a literary
vessel that navigates the turbulent waters of history, revealing the trauma, heroism, and heartbreak
that marked the Nigerian-Biafra War. It serves as a catalyst for conversations on nationalism,
ethnic identity, and the harrowing costs of conflict. The novel's thematic depths lay bare the human
experiences and ethical dilemmas that arise in the crucible of war, urging readers to contemplate
their resonance in the contemporary world.
This research is a thematic analysis of the novel with the aim of unravelling the intricate thematic
tapestry woven into the narrative. Through the lens of thematic analysis, we aspire to unearth the
thematic elements that lend this novel its emotional and intellectual resonance. We shall delve into
the thematic nuances, the characters' personal odysseys, and the broader socio-political
undercurrents that shape the story.
Within the pages of this novel, themes emerge that are both emblematic of the historical context
and are universally resonant. The narrative not only captures the tumultuous years of the NigerianBiafra War but also echoes the universal themes of love, resilience, and the human spirit's capacity
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to endure and transform. Through this analysis, we aim to shed light on the thematic richness of
the novel and the complex interplay between history, identity, and the human condition.
As we embark on this journey, we acknowledge the power of literature to render history accessible,
to invite reflection, and to kindle conversations on the lasting legacies of war and the enduring
significance of human connection. In exploring the themes of Tomorrow I Become a Woman we
delve into the narrative's heart and reflect on the scars left by war, the bonds that survive its
ravages, and the abiding power of storytelling to keep the flame of memory alive.
In the following chapters, we shall traverse the thematic landscapes of Odafen’s novel, venturing
into the heart of its narrative, and plumbing the depths of its thematic reservoir. We aim to provide
an enriched understanding of the thematic elements that make Tomorrow I Become a Woman a
worthy narrative, one that bridges the chasm between history and fiction, and one that offers a
poignant lens through which to contemplate the complexities of war, nationhood, and human
resilience. In this endeavour, we aspire to honour the literary work Odafen, and to contemplate the
themes that both captivate the reader's imagination and reverberate across the historical, cultural,
and human landscapes. This introduction sets the stage for the thematic analysis of Tomorrow I
Become a Woman.
1.2 Background of the Author
Aiwanose Odafen was born in Lagos, Nigeria, and demonstrated her academic excellence as a high
school student by winning gold and silver medals in the National Mathematics Olympiad
Competition. She pursued her higher education and achieved a first-class degree in Accounting.
She is also certified with the Association of Chartered Certified Accountants in the United
Kingdom, indicating her proficiency in the field of accounting.
She furthered her education by obtaining an MBA from the Said Business School at the University
of Oxford, which suggests her commitment to academic and professional growth. Prior to her
career as a writer, Aiwanose worked as a consultant in various industries, including the public
health sector, where she collaborated with an international NGO to save lives. This background
highlights her diverse experiences and expertise in different areas.
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Additionally, Aiwanose Odafen's participation in Chimamanda Ngozi Adichie's Purple Hibiscus
Trust Writing Workshop and her long listing for the 2020 Commonwealth Writers Short Story
Prize indicate her dedication to the craft of writing and her recognition as a talented writer.
Tomorrow I Become a Woman is her first novel, and it has garnered attention for its impactful
storytelling and exploration of complex themes related to culture, gender roles, and abusive
relationships. The book has left a profound impact on readers, showcasing Aiwanose Odafen's
skill in storytelling and her ability to address significant societal issues through her work. This
suggests that she is a promising author with a unique perspective on the challenges faced by women
in African societies.
In summary, Aiwanose Odafen's background includes a strong educational foundation, experience
in various fields, and a commitment to writing and storytelling that highlights important social
issues. Her debut novel has received acclaim for its thought-provoking narrative, making her an
author to watch in the literary world.
1.3 Relevance of Themes in Literary Works
There are different definitions propounded by different scholars as to what theme entails.
Nevertheless, theme is generally portrayed as the central, underlying and controlling ideas, or
insight in a work of literature. It is the idea the writer wishes to convey about the subject, the
writer's view of the world or a revelation about human nature.
Tadi refers to it as “the purpose of a literary work, it is the central idea embodied in a work” (82).
This clearly means that every book written contains the intention as seen from the writer perception
to the reader(s) and this intention (purpose) is known as theme. He further explains that “theme of
a literary work refers to its message, to its meaning, it is the writer’s view of the world or society
as portrayed his writings” (82).
Melakneh defines theme as "the central idea and the unifying concept of the story." (62). Based on
this definition, theme is the spot where meanings of a story converge. It has a lot to do with the
main idea that the reader understands after reading a story as a whole piece of artistic work.
According to Gray, theme is "the abstract subject of the works, its central idea which may not
explicit or obvious, ". . . a text may contain several themes or thematic interests." (28). This concept
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says that every literary work has a core or fundamental idea, which the author can use to express
the theme or provide context for the reader. Also noted is the fact that themes can be expressed
either directly or implicitly.
In an artistic work, a theme is a subject matter, idea, concept, or topic that the author treats and
develops over time and space. A story's theme serves as a means of conveying to readers the
author's intended social commentary on society. By observing the relationships and events in the
story and relating them to actual events in the society that serves as the backdrop for the writing,
one can determine the theme in a short story.
Themes are essential elements of any literary work, as they convey the author's message and
perspective on the topics they explore. Themes are not just abstract ideas, but also opinions and
judgments that the author makes about those ideas. Themes can be expressed through various
literary devices, such as characters, setting, plot, dialogue, symbols, motifs, and imagery. Themes
can also be implicit or explicit, depending on how directly the author states them.
One of the main purposes of themes is to provide insight and meaning to the readers, as they can
relate to the issues and questions that the author raises. Themes can also challenge the readers to
think critically and creatively, as they can offer different viewpoints and interpretations of the same
topic. Themes can also inspire the readers to reflect on their own values and beliefs, as they can
compare and contrast them with the author's.
Some of the common themes in literature include love, death, war, freedom, justice, identity,
power, fate, and many more. These themes are universal and timeless, as they can apply to any
culture and era. However, different authors can approach these themes in different ways,
depending on their style, genre, context, and purpose. For example, the theme of love can be
explored as a positive or negative force, as a source of happiness or pain, as a matter of choice or
destiny, and so on.
Themes can also be specific and unique to a particular work, as they can reflect the author's
personal experiences, opinions, and goals. For example, the theme of racism in To Kill a
Mockingbird by Harper Lee is influenced by her own childhood in the segregated South of the
United States. The theme of alienation in The Metamorphosis by Franz Kafka is based on his own
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feelings of isolation and anxiety. The theme of dystopia in Nineteen Eighty-Four by George Orwell
is motivated by his criticism of totalitarian regimes and propaganda.
Themes can also be complex and multifaceted, as they can involve more than one idea and opinion.
For example, the theme of revenge in Hamlet by William Shakespeare is not only about the
protagonist's quest to avenge his father's murder, but also about the moral and psychological
consequences of his actions. The theme of madness in The Catcher in the Rye by J.D. Salinger is
not only about the protagonist's mental breakdown, but also about the social and cultural pressures
that he faces. The theme of freedom in The Adventures of Huckleberry Finn by Mark Twain is not
only about the protagonist's escape from slavery, but also about the conflicts and contradictions of
the American society.
In conclusion, themes are vital components of literary works, as they communicate the author's
vision and voice on the subjects they address. Themes can enrich and enhance the readers'
understanding and appreciation of the works, as they can connect them to the author's ideas and
emotions. Themes can also stimulate and challenge the readers' imagination and intellect, as they
can invite them to explore different perspectives and possibilities of the same topic. Themes can
also influence and shape the readers' values and attitudes, as they can expose them to the author's
judgments and arguments. Therefore, themes are relevant and significant to literary works, as they
reveal the essence and purpose of the author's expression.
1.4 Statement of the Problem
There has been no sufficient critical attention on Odafen’s Tomorrow I Become a Woman because
it is a fairly new publication. The intricacies and truth hidden in her novel have not been explored.
The attempt to create a common understanding and reveal the hidden truths of the Biafra issue and
the lives of the people after the war through a thematic analysis of the novel has led to this research.
1.5 Aim and Objectives of the Study
The aim of this study is to conduct a comprehensive thematic analysis of Odafen's Tomorrow I
Become a Woman to uncover the central themes and their development throughout the novel.
The specific objectives are:
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1. To identify and analyse the central themes present in the novel.
2. To examine the development of themes related to gender, identity, and coming of age
throughout the novel.
3. To explore how the cultural and societal context of Nigeria influences and informs the
thematic content of the book.
1.6 Research Methodology
This research will carry out a close reading of Odafen’s Tomorrow I Become a Woman as a primary
source of information in order to explore thematic issues such as hope, love, gender equality,
identity, cultural heritage and societal expectations. Similarly, character and character analysis will
be carried out in order to foreground their symbolic relevance beyond the text. Other sources of
research are from the library, texts, the internet, Journal articles and reviews of related literary
works.
1.7 Scope of the Study
This project is concerned with the thematic issues that are found in Odafen’s Tomorrow I Become
a Woman. In the course of analysis, references may be made to other relevant literary works of
some other Nigerian and African writers.
1.8 Significance of the Study
The Thematic Analysis of Aiwanose Odafen's Tomorrow I Become a Woman, is significant
because it provides an academic lens which is used to examine the diverse and thought-provoking
themes of the novel. It contributes to the ongoing discourse on culture, gender, identity, and
societal change, making it an important study for those interested in literature, gender studies, and
social dynamics. The study explores how the characters in the book navigate the intersection
between tradition and modernity, offering valuable insights into the challenges and opportunities
presented by this cultural clash. The study will also provoke thought and discussion about the
intricate web of societal expectations, personal choices, and cultural heritage. These encourage
readers and scholars to engage in conversations about these vital issues, potentially leading to
greater awareness and social change.
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CHAPTER TWO
LITERATURE REVIEW AND THEORITICAL FRAMEWORK
2.1 Introduction
This chapter contains review of related literature on the subject of this project. It starts by
discussing formalism and African literature, the proponents of formalism in Africa and their
thoughts or contributions on formalism. It further looks at the reception and criticism of formalism
by notable African figures, the application of formalism in African literary criticism. This chapter
also contains reviews of critical works on Odafen’s writings and the theoretical framework and
how it is applied in the thematic analysis of Odafen’s Tomorrow I Become a Woman.
2.2 Formalism and African Literature
Literature, as an art form, has the unique ability to transport readers to different worlds, provoke
deep emotions, and convey complex ideas. One of the critical frameworks through which we can
dissect and appreciate literature is formalism. Emerging in the early 20th century, formalism offers
a structured and methodical approach to the analysis of literary works. It focuses on the inherent
structures and techniques that authors employ to construct their narratives and convey their
messages.
This research on the “Thematic Analysis of Aiwanose Odafen’s Tomorrow I Become a Woman”
embarks on an exploration of formalism as a literary theory, delving into its historical background
and the key concepts that underpin this approach. We will delve into the core elements of
formalism, including literary autonomy, close reading, defamiliarization, and the examination of
literary devices. Through the lens of formalism, we will uncover how these elements shape our
understanding of literary texts, transcending cultural and temporal boundaries.
As we navigate the terrain of formalism, we will also explore its relevance and application in the
analysis of literature, both within and beyond the context of African literature. The formalist
approach, with its emphasis on form and structure, serves as a valuable tool for unravelling the
complexities of literary works and appreciating the craftsmanship of authors. Scholarly works have
explored the application of formalism to African literature. Formalism according to Abrams M.H.
(1999), “The analysis of the literary work as a self-sufficient verbal entity, constituted by the
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internal relations and independent of reference either to the state of mind of the author or to the
external world”. By applying formalism to African literature, we can gain fresh insights into the
narratives of the continent, their thematic depth, and their universal resonance.
Formalism is a literary theory and method of critical analysis that emerged in the early 20th
century, primarily associated with Russian Formalists like Viktor Shklovsky, Roman Jakobson,
and Yury Tynyanov. This school of thought emphasized the examination of a literary work's form,
structure, and internal elements rather than its historical, social, or authorial context. The central
idea behind formalism is that literature is a self-contained and self-referential system with its own
set of rules and conventions.
Formalism, as a literary theory, has made significant inroads into the realm of African literary
criticism, offering a lens through which scholars examine the intrinsic qualities of literary works.
This essay explores the impact of formalism on literature in Africa, considering both its proponents
and critics while highlighting its contribution to a nuanced understanding of African literary
expression.
Proponents of Formalism in Africa:
Formalism in African literature has been advocated by various scholars who emphasize the
importance of structure, form, and linguistic precision in literary works. Chinua Achebe, a
prominent Nigerian author in his book The Trouble with Nigeria, is of the opinion that "formalism
has been one of the main causes of the sterile state in which we find ourselves in Nigeria, especially
in literature." (Achebe, 1983, page 48). Achebe argues that formalism has led to a focus on style
and technique, at the expense of content and meaning. He believes that this has resulted in a
"narrow and sterile vision" of literature, and has prevented Nigerian writers from fully exploring
the social and political realities of their country. Achebe makes a valid point about the limitations
of formalism as a critical approach. By emphasizing form over content, formalism can miss the
unique cultural and historical context of literature. I also agree with Achebe that literature should
be more than just a "connoisseur of form." In my view, literature should engage with real-world
issues and explore the human condition. I think that Achebe's critique of formalism is applicable
to literature from all parts of the world, not just Africa.
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Ngũgĩ wa Thiong'o, a Kenyan writer and academic, has also contributed to this discourse. In his
work, Decolonising the Mind, he opines that "the proponents of formalism in Africa, like Nkosi,
want to sever African literature from its African soil and traditions, and plug it into the Western
tradition which is incompatible with the experiences of Africans." (Ngugi, 1986, page 27). In other
words, Ngugi believes that formalism removes African literature from its social and historical
context, and tries to apply Western standards to a completely different cultural tradition. He argues
that this leads to a misunderstanding of the literature, and a failure to appreciate its true value. In
my view, both Achebe and Ngugi raise valid points about the limitations of formalism. However,
I also think that there is some value in formalist approaches. While formalism can lead to a
reductive reading of literature, it can also help us to appreciate the craftsmanship and skill of a
work. In my opinion, the best approach is to use a combination of both formalist and contextual
analysis, in order to fully appreciate the richness and complexity of literature
Additionally, Wole Soyinka, a Nigerian playwright and Nobel laureate, has expressed the
importance of form and structure in literature. While his focus extends beyond formalism, his
discussions on the craft of writing in works like Myth, Literature, and the African World, where
he argues that "literature cannot be truly and usefully discussed unless some recognition is
accorded the environment from which it originates." (Soyinka, 1976, page 51). Soyinka believes
that formalism fails to account for the "total situation" of a literary work, and instead focuses only
on the "falsifying aesthetics" of form and technique. Soyinka advocates for an approach that takes
into account the social, cultural, and historical context of literature, in order to fully understand its
meaning. In my opinion, Soyinka's argument is an important one, as it highlights the importance
of understanding literature in its context. However, I also think that there is a danger of
oversimplifying formalism. While it is true that some formalist approaches can be reductive, I
think that others can be valuable in analysing the literary techniques used by an author. For
example, close reading can be a useful way to examine the structure and use of language in a text,
without losing sight of its broader context.
Ezekiel Mphahlele in his essay The African Image in Literature, argues that "formalism overlooks
the symbolic and mythical character of African literature." (Mphahlele, 1976, page 62). Mphahlele
believes that African literature is rooted in myth and symbolism, and that this must be taken into
account when analysing it. He argues that formalism ignores the "inner meanings" of African
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literature, and instead focuses on its outward form. Mphahlele argues that "to understand African
literature you have to know something about Africa's history and people." (Mphahlele, 1976, page
63). I am of the opinion that Mphahlele raises a valid point about the importance of understanding
the context of African literature. However, I think that it is possible to take a more nuanced
approach to formalism that can allow for both close reading and analysis of a text's cultural context.
For example, some scholars have argued for a "middle-ground" approach that combines both
formalist and contextual approaches. I think that this allows for a more comprehensive
understanding of literature, without losing sight of the importance of context.
Achebe, Thiong'o, Soyinka, and Mphahlele all have nuanced and complex views on the role of
formalism in analysing African literature. Achebe and Ngugi both believe that formalism can be
reductive and overlook the context of African literature, while Soyinka and Ezekiel believe that it
is necessary to understand the symbolic and mythic aspects of African literature. I think that there
is value in both perspectives, and that the best approach may be a "middle-ground" that combines
close reading with an understanding of the cultural and historical context.
Reception and Criticism:
The reception of formalism in Africa is diverse. Notable figures such as Chinua Achebe in his
book Morning Yet on Creation Day have expressed reservations, arguing that an exclusive focus
on form neglects the social and cultural dimensions embedded in African writing. There has been
some criticism of formalism in African literature, with some scholars arguing that it is too
restrictive and limits the scope of what can be considered "African literature." Some have also
criticized formalism for its emphasis on structure and form, rather than on the social and political
context of the work. However, other scholars have argued that formalism is an important approach
to understanding African literature, as it can reveal the underlying structures and patterns that are
often present in these works.
One of the main criticisms is that it ignores the historical and political context of the work, instead
focusing solely on the structure and form of the work. Rodney Wren in his book The Novel in
Africa argues that "Formalism has made it difficult to see that many African writers use the novel
as a vehicle to express their social, political and economic concerns." (Wren, 1980, page 3) Wren
raises some interesting points about the role of formalism in the interpretation of African literature.
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On one hand, Wren is right in saying that formalism can be overly restrictive and may not allow
for a nuanced reading of African novels. On the other hand, I think it's important to acknowledge
that formalist criticism has also been valuable in highlighting the unique literary features of
African novels, such as their use of oral traditions and folklore. So, I would say that while
formalism can be limiting, it has also been useful in illuminating certain aspects of African
literature.
Another scholar Bill Ashcroft in his book Post-Colonial Studies: The Key Concepts opines that,
“The problem with formalism is that it is excessively restrictive, even static." (Ashcroft, 2001,
page 45) I agree with Ashcroft that formalism can be excessively restrictive, and I think this is
particularly true when it comes to reading postcolonial African literature. Postcolonial African
literature often challenges the traditional conventions of literature, and it often reflects the complex
social and political contexts in which it was written. By focusing solely on formal elements like
plot, character, and structure, formalist criticism may not be able to fully appreciate the rich and
diverse ways in which postcolonial writers engage with the legacies of colonialism and
imperialism. However, Gayatri Spivak in her book The Literary Debate on Postcolonial
Literature, argues that a formalist reading can reveal important aspects of a text that may be
overlooked by other approaches.
Boehmer raises an important point about the limitations of formalist approaches to postcolonial
African literature in his book, Colonial and Postcolonial Literature: Migrant Metaphors, where
he argues that "Formalism would impoverish the resources of African literature." (Boehmer, 1991,
page 14). In my view, by limiting analysis to formal elements like plot and character, we may
overlook the unique perspectives and experiences that are reflected in postcolonial texts. While a
formalist approach may be helpful for understanding some aspects of postcolonial literature, it
cannot fully capture the social, historical, and political context that is so crucial to understanding
these texts. As Boehmer argues, a more nuanced and contextualized approach is needed to fully
appreciate postcolonial African literature.
Elleke Boehmer further posited that, "It is absurd to use the literary conventions and techniques of
western literature as a model for the evaluation of African literature. European and American
literature evolved in very different situations, and were shaped by forces very different from those
that African writers have faced." (Boehmer, 1991, page 14). Boehmer further highlights the
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importance of understanding the context in which postcolonial African literature is written, and
how that context may differ from that of Western literature.
In my opinion, formalist approaches to postcolonial literature can be useful for understanding some
aspects of the texts, but they cannot fully capture the richness and complexity of these works. A
more nuanced and contextualized approach is needed to fully appreciate the social, historical, and
political context of postcolonial literature. African literature should be understood as a product
of its unique historical and cultural context, and should not be judged according to the conventions
of Western literature.
Application of Formalism in African Literary Criticism:
The application of formalism in African literary criticism has both positive and negative aspects.
On the one hand, formalism can be a useful tool for analysing the structural and stylistic elements
of African literature, and can help us to understand the unique features of the genre. Formalist
analysis in Africa often involves a detailed examination of narrative structures, linguistic choices,
and stylistic elements employed by African authors. Ngugi wa Thiong'o, for example, explores the
formal characteristics of African oral literature, highlighting the significance of language and
narrative structures within the oral tradition in his book Decolonising the Mind: The Politics of
Language in African Literature where he says that “The critical criteria for judging African
literature tend to fall into two main categories, namely, those which use the Western literary
tradition as the measure of merit, and those which use the internal criteria of the literature itself.
Using the Western literary tradition as a measure of merit has many contradictions, the main one
being that the Western literary tradition itself is determined by a totally different history and
experience." (Ngugi wa Thiong'o, 1986, page 13). This extract highlights Thiongo’s argument that
using formalist approaches to analyse African literature can be contradictory and ineffective.
In my view, Thiongo raises some valid points about the use of formalism in African literary
criticism. However, I also think that there is value in using formalism as a tool for analysing the
structure and style of African literature, as long as it is not used as the sole method of evaluation.
I believe that a more comprehensive approach that combines formalism with other critical theories,
such as post colonialism, can help us to gain a deeper understanding of African literature and the
cultural and historical context in which it was written.
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In agreement to Ngugi Wa Thiongo’s claim Achebe argues that "the problem of African literature
is not a problem of form, of language, or technique, but a problem of content. What is relevant to
Africans is not the form, the language, or the technique, but the content." (Achebe, 1986, page
117). Achebe further argues that "the best critics of African literature in English are those who are
sensitive to the African writer's intention to be understood by his readers, and not to be dismissed
as incomprehensible." (Achebe, 1986, page 117). I think Achebe raises some important points
about the limitations of formalism as a critical approach to African literature. By focusing solely
on the form of a work, formalist criticism can miss the cultural and historical context in which the
work was created. Achebe's emphasis on the importance of content over form is an interesting
perspective that challenges traditional Western notions of literary criticism.
Achebe's argument is that formalism, as a Western approach to literary criticism, places too much
emphasis on the structure and form of a work, rather than the ideas and experiences that it conveys.
He argues that for African literature, the content, or the experience of the reader, is more important
than the form. This is because African literature often deals with issues of culture, history, and
identity that are not necessarily reflected in the formal structure of the work
Achebe's argument has been expanded upon by other scholars, such as Nigerian writer and scholar
Biodun Jeyifo in his book Rethinking Third World Literature, who writes that "formalism as a
critical approach cannot adequately evaluate the central qualities of African literature." (Jeyifo,
1995, page 30). Jeyifo argues that formalism is not equipped to analyse the ways in which African
literature explores the political, social, and cultural contexts of Africa. He points out that "African
literature is often informed by a sense of urgency and political mission." (Jeyifo, 1995, page 29).
I think Achebe's argument is an interesting one that challenges traditional approaches to literary
criticism. I am of the opinion that it is important to recognize the unique cultural and historical
context of African literature, and to consider the role of content and experience in addition to form.
While I do not think formalist approaches should be completely abandoned, I do think that we
need to broaden our understanding of what constitutes good literature. I believe that by taking a
more holistic approach to criticism, we can better appreciate the unique qualities of African
literature.
Formalism enables scholars to uncover the artistic merits of African literature, emphasizing the
autonomy of art. By focusing on elements such as plot structure, language, and symbolism,
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formalist analysis unveils the unique ways in which African authors craft their narratives,
contributing to a more profound appreciation of the literary artistry present in the works. When
applied judiciously, formalism complements a broader exploration of the cultural significance of
African literature. It allows for a nuanced examination of how formal choices reflect and contribute
to cultural identity, social critique, and historical consciousness. Formalist analysis thus becomes
a tool for decoding the intricate layers of meaning within African literary texts.
Formalism's impact on literature in Africa is multifaceted, with proponents advocating for a focus
on artistic autonomy and critics urging a more inclusive approach. The application of formalist
principles in African literary criticism has contributed to a deeper understanding of the aesthetic
and cultural dimensions of African literature. Formalism in African literary criticism emerges as a
dynamic force that navigates the complexities of tradition, modernity, resistance, and global
interconnectedness. Its impact on literature in Africa extends beyond the analytical realm,
influencing pedagogy, fostering global conversations, and contributing to the shaping of literary
movements. As African scholars continue to engage with formalist approaches, the ongoing
dialogue promises to unravel new layers of meaning, ensuring a vibrant and evolving landscape
for the appreciation and interpretation of African literature.
2.3 Review of Critical Works on Aiwanose Odafen’s Writing
As there has been no sufficient critical attention on Aiwanose Odafen’s Tomorrow I Become a
Woman because it is a fairly new publication, critical works and essays are not much as I have
perused the internet and found just few. One of the articles I was able to find is an article by
Aiwanose Odafen herself titled “What Feminism Means in My Fiction” on the 13th of May 2022.
In this article she explores the relationship between her writing and feminism. She states that:
Literature guided my introduction to feminism. I was thirteen and in the first
year of senior secondary school and our literature teacher informed us that
we were to purchase a novel for our class work: The Joys of Motherhood,
by Buchi Emecheta; a book that would go on to radicalize me and
completely transform my view of the society I existed in.(pg. 1)
Here, we can see that Odafen is clearly influenced by the writings of one of the most appreciated
feminists in Nigeria and in a few years after she had read and digested this book, she herself became
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a feminist and, to an extent, she allowed it get into her writing. Coupled with the fact that she had
heard her uncle made comments like “What is the point of all this you’re gathering? Who are you
leaving it for?”(Odafen, 2022, pg. 1) to her father before her brother was born. Another point that
finally made every bit of her mind convinced about the plot for her story was the fact that one of
her friends during her postgraduate study at Oxford, would not leave her abusive relationship and
another friend had reprimanded her (Aiwanose) for encouraging her to get a divorce. As Fern
Eckman will say “a writer writes on his or her experiences”, we can see that from this article,
Aiwanose Odafen’s writings is clearly influenced by her experiences from her childhood days to
her postgraduate days in school and even till the point when she had decided to write this breathtaking novel.
Tosin in her review of Odafen’s Tomorrow I Become a Woman on 8th October, 2022, sheds some
light on the mother daughter relationship between Obianuju and her mother. She states that;
”Obianuju loved her mother despite knowing she didn’t always do what was best
for her. She went to her for advice knowing what type of advice she’d get but she
didn’t stop. If anything, I’d say she extended grace to her mother. Her mother upset
me so much and I kept telling myself “if only her mother thought differently, this
babe will not be here dealing with this nonsense”. (Tosin, pg. 3)
Despite the fact that mama was always on her neck and never for once allowed Uju to do anything
that would make her happy, Uju always went back to her for advice and to listen to what she has
to tell her, after which she always complained but still finds herself in the shadow of her mother
following her every instructions.
Tosin also cherish the sisterly love between the trio, Chinelo, Adaugo and Obianuju who from
infant had developed a strong bond and had been there for one another through thick and thin.
Tosin opines that, “The female friendship in the book was nice to read. They were present for each
other. They cried together, helped each other even when they didn’t agree on things. It felt
genuine”. (3) Even when they had indifferences, they were still there for each other, even when
Chinelo was on her deathbed, the bond they had was sincere. Tosin is also of the view that
Obianuju’s story is a story that is not new, because even in this contemporary world, most ladies
15
still stay in their toxic and abusive marriages, so therefore, everyone has a thing or two to learn
from Obianuju’s story.
Chinaza Nwaeke, in her review of Odafen’s Tomorrow I Become a Woman in BN Book Review,
on January 19th, 2023, feels that the book is drenched at every angle by the story of love and the
harsh requirements of being a woman. She says; “This book will leave you deeply displeased and
annoyed about patriarchy and how women, churches, cultures and families influence marriages to
go on, however detrimental they are to women”.(pg. 1) Nwaeke feels that the environment and
culture affects the lives of the characters in the book, mostly in the character of Uju. Nwaeke also
sees the book as Odafen’s real life experiences split into the three major female characters
Obianuju, Chinelo and Adaugo, where themes such as financial abuse, shame, the clash between
culture and modernity and also the growth conflicting between two generations of motherhood.
These reviews have in a way shed more light on Odafen’s Tomorrow I Become a Woman and have
proven that it is a powerful and emotional novel that explores the effects of the Nigerian Civil War
on families and relationships, and the struggle for democracy and social justice in Nigeria. The
reviews have proven the novel to be a testament to the resilience and strength of women and their
capacity for change and it also tends to resonate with the readers long after they have finished
reading it.
2.4 Theoretical Framework
Formalism's primary tenets include the idea that literature is a self-contained and self-referential
system. Texts are seen as autonomous entities, and meaning is derived from the interaction of these
formal elements within the text itself. This approach encourages readers to focus on the text's
patterns, language, and techniques to uncover its deeper layers of meaning.
Textual analysis can be done in a variety of ways. The new criticism is one of these methods. This
idea holds that the meaning, as opposed to the work's impact on the reader or the writers' aim, is
only present in the literary text. When examining the work, these are discounted as being external
factors. By carefully reading and analysing the text's formal components, such as rhyme, meter,
imagery, and topic, readers must ascertain the text's intended meaning. Structuralism is the other.
It emphasizes complete objectivity in studying the literary text and rejects the significance of
readers' reactions in literary analysis, much like new criticism. For the work to be understood,
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readers' understanding of the piece's structure and theme are crucial. Another literary theory with
a textual orientation is formalism. This method asserts that all the components required for
understanding the work are included inside the work itself.
According to Kennedy and Gioia, the formalist approach regards literature as "a unique form of
human knowledge that needs to be examined on its terms.'' (298) the work itself contains all the
information needed to understand it; the formalist critic is especially interested in the form of an
artistic work that is, the elements such as style, structure, tone, etc. that are present in the text.
Finding out how these components interact with the text's content to affect how readers respond is
one of formalist critics' main objectives.
NereusYerima, in his book Beginning Literature, explains that:
"Formalists consequently spend time in the analysis of irony and metaphor and show
greater interest in the text's setting, characters, symbols and point of views. Critics are to
examine the intrinsic features of the text which include grammar, syntax and figurative
languages. The critics should look at how the elements come together to produce an artistic
wholeness" (179)
To the Formalists, literature is seen as the effective use of language, they focus on literary language
as self-contained and its function solely depends on drawing the attention of the readers to its
'formal' feature.
Formalism can be applied to a thematic analysis of Aiwanose Odafen's Tomorrow I Become a
Woman, by focusing on several aspects of the theory. Here are some elements of formalism that
will be used for the purpose of this research:
Narrative Structure: Analysing the narrative structure of the novel can reveal how themes are
developed and presented. One can look at the arrangement of events, the use of flashbacks, shifts
in perspective, and the overall organization of the story. For example, we will consider how the
narrative structure influences the reader's understanding of themes related to identity, coming of
age, or cultural change.
Characterization: We will examine how characters are portrayed in the novel Tomorrow I Become
a Woman by Aiwanose Odafen and pay attention to their internal thoughts, motivations, and
interactions. How do the characters' traits and development contribute to the exploration of themes
like gender, identity, and societal expectations?
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Language and Style: Formalism encourages a close analysis of the language and writing style. We
will consider how the Odafen's choice of words, imagery, metaphors, and symbols contributes to
the thematic elements of the story. How do linguistic devices enhance the reader's understanding
of themes?
Symbolism: This explores the use of symbols and motifs in the novel. Symbols can carry deeper
thematic meanings. We will identify the recurring symbols and their significance in relation to the
themes of the novel Tomorrow I Become a Woman. For instance, symbols related to womanhood
or cultural traditions may be central to the thematic analysis.
Setting and Atmosphere: Formalism also pays attention to the setting and atmosphere created in
the text. It investigates how the setting influences the development of themes. Is there a specific
location, period, or environment that is essential to the thematic exploration in the novel?
Simile and Personification: This look for instances of simile or personification within the text that
can add complexity to the thematic analysis by highlighting contradictions or ambiguities in the
narrative. Consider how such elements contribute to the exploration of the novel's themes.
With a text-centric approach, this research employed the application of formalistic methodology.
The researcher adopted this strategy because he solely relies on the data collected from the novel
Tomorrow I Become a Woman. The researcher relies on the data collected from this novel as she
examines it since the novel primarily deal with love and related themes. By applying formalist
analysis to these aspects of the novel, we will gain a deeper understanding of how Odafen uses the
formal elements of her writing to convey and develop the thematic content of Tomorrow I Become
a Woman.
2.5 Conclusion
This chapter has given a critical overview of formalism and African literature, review of critical
essays of Aiwanose Odafen’s writing, and the theoretical framework and how it is to be applied in
the thematic analysis of Tomorrow I Become a Woman.
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CHAPTER THREE
THEMATIC ANALYSIS
3.1
Introduction
This chapter presents an analysis of the themes in Aiwanose Odafen’s Tomorrow I Become a
Woman. The chapter discusses the central ideas and thoughts in the novel to support the whole
piece as a visualization of realism or real-life situation of human’s society. With a cohesive
organization and interplay of the novel’s elements as well as some direct quotations from the text
selected, the research provides a linking chain to show how the themes are dependent on each other
for a cohesive story telling.
3.2
Synopsis of the Novel Tomorrow I Become a Woman
Aiwanose Odafen’s Tomorrow I Become a Woman explores the human experience of war and its
aftermath through its characters. The characters are multifaceted and complex, each with their own
unique motivations and perspectives. The novel’s protagonist, Obianuju, is the voice that Odafen
uses to tell the story. She is woman who is a subject to what goes on around her and allows her
environment or the society to influence most of her decisions. She is the strong headed type, yet
finds herself bend easily especially to the tantrums of her mama (her mother). Uju, (as the author
calls her) finds a lover in her Uncle, Ikenna, who later joins the army during the Civil War and
disappears into thin air as there is no news of whether he is dead or alive. This in turn influences
her decisions in getting a man for herself as she looks for her ‘Uncle Ikenna’ in her dream man.
Uju, Chinelo and Adaugo are closely bonded from the generation before and still maintains this
bond even after they got married. They are not related by blood but became ‘blood sisters’ their
experiences together shaped the narrative of this story from the first part of the story ‘Yesterday’,
through ‘Today’ and up until ‘Tomorrow’.
Obianuju finds herself antagonised on all front and Chigozie, her husband, with whom she is
supposed to find solace also pushes peace far from her and her daughters. Although Kelechi,
Ifechukwu and Ugochukwu (Uju’s brothers) at every discovery of Uju’s swollen face or bruises
dealt with Gozie, Gozie still persisted and at a point in time seized beating Obianuju. With the
coming of wealth and affluence, coupled with the fact that they (Kelechi, Ifechukwu and
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Ugochukwu) too got married and had a family of their own, Gozie’s beatings and constant abuse
became normalcy and something that Uju often experienced. Gozie is dreaded by both Uju and
her daughters as he at any slightest bit of provocations deals mercilessly with them, even to the
extent of beating Ego, (their first daughter) to the point that she had to be operated on, an operation
fully funded by Uju herself as Gozie declared that he had nothing to do with them. Torn between
the ‘Ego’ and the ‘Super-ego’, Obianuju discovers herself, as she finally accepts the fact that she
had to stand for herself and for her children.
3.3
Themes in Tomorrow I Become a Woman
3.3.1 Feminism and Women's Empowerment
The novel, Tomorrow I Become a Woman follows a complex relationship between mother and
daughter as they grapple to come to terms with tremendous loss. The book also explores a woman's
struggle to meet societal and cultural expectations within the confines of an abusive marriage, and
a love story that spans decades and continents against a backdrop of political turmoil in a fastchanging world. The book is loosely based on the real stories of real women known to the author.
One of the main themes of the book is the contrast between the traditional and modern views of
womanhood and femininity in Nigeria. The protagonist, Uju, is constantly pressured by her mother
to get married and have children, as this is seen as the ultimate goal and duty of a woman.
Whenever Uju came home, the first question mama would ask would be if she already had
someone to marry.
“So any news on …, she didn’t complete her sentence but instead shook her head
and blinked her eyes quickly to indicate that I should know what she was talking
about”.(33)
Mama did not even care if Uju was happy or not with the man, as long as he was single and an
Igbo man then he was good to go. Her mother also disapproves of her education and career
aspirations, as well as her attraction to a man from a different ethnic group.
“… what part of Nigeria is he from? Is he a Lagos boy? Please tell me he isn’t a
Yoruba boy or one of those Northerners”.(33).
20
Uju's mother represents the patriarchal and conservative values that have oppressed and
marginalized women for generations. She believes that a woman's worth and happiness depend on
her husband and children, and that she must endure any hardship or abuse in the name of marriage
and family. She also feels that a woman is meant to fight to keep the home together especially
through childbirth (male children especially), just like she did.
“Mama never go tired of telling me the story. She’d been married for many years
to Papa, and her position was safe: she’d had sons, three strong boys.” (29)
Mama’s patriarchal and conservative character also comes in when she forced Uju, who had just
gotten a white collar job in order to ease the financial crises she was in, to disregard the
employment immediately because she is pregnant and she (Mama) did not want her to risk the
pregnancy especially since a boy child is been sourced for.
”Mama pointed her finger her finger in my face. See, you’re not resuming any
office on Monday. You will not lose this child God has finally given you. God
forbid!” (144)
However, Uju and her friends, Chinelo and Adaugo, challenge these norms and seek to empower
themselves. They form a strong bond of sisterhood and solidarity from childhood. A bond that
makes them inseparable, supporting each other through their personal and professional struggles.
“We celebrated Chinelo’s promotion at work st the end of ’86 with wine stolen
from Chigozie’s home bar, wine so crimson and smooth it swished softly in the
crystal glasses we raised in toast…” (179)
In the chapter, ‘We girls need to take care of our body’, women are portrayed to be able to take
charge of their bodies, controlling when they gave birth or not. Sally, introduces Uju to birth
control pills. Since she feels like she is not yet ready to have children. Although it did not go well
with Uju when Gozie found out, it gave her a sense of control at that moment, women
empowerment.
“So this is why we don’t have children yet? You’ve been taking pills behind my
back… I fell to the ground, shocked and shaken, clutching the stinging half of my
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face hot tears rolling down. I’m sorry, I just wasn’t ready. I mumbled in between
sobs. He’d never hit me before.” (79)
Feminism comes in play where Adaugo, Chinelo and Uju during one of their numerous ‘gossip’
meetings at Uju’s house, sees a picture in a magazine and laments over how men in the picture
names were mentioned and how the name of the only woman in the picture is omitted.
“Just look at that, Chinelo said, pointing at a snapshot halfway down the page.
Three men and a woman stood side by side in a black and white photograph. The
caption read- Mr Mustapha Abdulahi, his wife, Mr Benjamine Akintola and Mr
Goodluck Okoro at the annual stockbrokers’ conference. What does Mr Mustapha
Abdulahi, his wife, mean? Does the wife not have a name? She complained.” (139)
One other feminist instance in this novel is when Sister Bolatito encounters Uju when Gozie had
dealt severely with her and Ego who had tried to fight back, and so was beaten to coma by Gozie.
Uju, who was searching in without any positive result for the surgery fees meets with Sister
Bolatito sho is an angel in disguise and who further encourages her to chare her problems because
according to her, women are meant to stick together.
“At the hospital gate, Sister Bolatito stopped her car and turned off the engine, and
I thanked her. As I turned to leave, she touched my shoulder causing me to pause.
You can talk to me, you know. Something is wrong. You said you fell down the
stairs, but I know that’s a lie. I have been there, I want to help you. We women have
to stick together; we have to help each other.” (361)
These women in the novel severally stood by one another and also fell out with each other but
together they resist the expectations and limitations imposed on them by society, culture, and
religion, and assert their rights and dignity as human beings. They embody the feminist ideals of
equality, freedom, and justice, and inspire other women to do the same.
3.3.2 Memory and Trauma
Through the eyes of Uju, Odafen explores the complex relationship between a mother and a
daughter. A woman’s struggle to meet societal and cultural expectations within the confines of an
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abusive marriage, and a love story that spans decades and continents against a backdrop of political
turmoil in a fast changing world.
Memory and trauma are interwined themes in this novel, as the characters are haunted by the past
and its effects on their present and future. The novel begins with the opening chapter ‘I’m going
to marry him’, in the first part of the book (Yesterday). The second chapter ‘This one is a strong
woman, only a strong man can handle her’, highlights the effects of the loss of uncle Ikenna,
Mama’s brother and Uju’s Uncle. He is a kind, intelligent, brave and handsome man, he is loved
by anyone who crosses his part and he is a man who Mama (Obiageli) believes and still hopes that
is alive. Uju’s mental picture of Gozie was that of uncle Ikenna, as he (Gozie) constantly reminded
her of pleasant but painful memories of her favourite and only uncle.
“Uncle Ikenna was to marry that year. A nice quiet girl from our town was to be his
bride; he’d met with her family already. Mama didn’t inform me until the day of
the announcement, I cried and cried until the soon-to-be groom himself was forced
to comfort me with ice-cream and reassurance that I would always be his Uju. But
everything changed that evening as those words flowed from the radio. It was in
the heavy silence afterwards, in the way Papa cleared his throat uneasily, in the way
mama stared at the floor, and in the way Uncle Ikenna’s eyes lit up. I knew our lives
would never be the same. (37)”
Three years later, Uju returns to their house together with her family, but she was no longer the
innocent Uju of three years ago, she had changed, changed due to the trauma of the war,
“We’d seen blood, hunger and devastation. I was no longer the girl who believed
in people and fairytales; I’d seen with my own eyes what humans were capable of.”
(38)
On the one hand, Uju finds solace in Gozie because she finds similarities between him and her
uncle Ikenna.
“Gozie reminded me of uncle Ikenna, and with his every laugh and charming smile,
he brought back painful memories of the first man I’d ever fallen in love with.” (35)
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On the other hand, Mama’s unending search for love her beloved brother uncle Ikenna who had
joined the Biafra army when the civil war started.
“When the dust of war settled. Mama sent letters far and wide, and travelled across
the country every time there was a claim of a sighting of someone fitting uncle
Ikenna’s description.” (39)
Uju’s longing for someone in whom she could rely on as much as she did uncle Ikenna started to
gradually fade.
“For me, nothing and no one could fill the hole uncle Ikenna left, and for years I
compared every man I met to him, his smile, his laughter, his heart- until I gave up
hope accepting I was searching for the impossible.” (39)
While Uju tries to cope with her trauma by seeking love and validation from others. She falls in
love with Akin, a Yoruba man who is kind, intelligent and supportive to her dreams, a man almost
like her uncle Ikenna. However, she is scared to introduce him to her mother who would never
accept him because of his ethnic and religious background. Gozie fits into this memory of uncle
Ikenna and to an extent fills the missing gap she had within her. Even on her wedding day, Uju
fantasizes with her memory of uncle Ikenna as the face that returns a sweet and happy smile when
she was asked to present the cup to her husband was her uncle Ikenna’s.
“I found Gozie at the back of the crowd… Uncle Ikenna looked back with an
affectionate smile. His eyes bore the same twinkle of mischievousness of youth,
like we shared a secret no one else knew; a replica of the one he’d given me every
time he’d said, My strong girl. My Obianuju.” (56)
After Uju accepts Gozie’s proposal and everything seems to be going well for she and her family.
She thought she could finally relax and heal from her painful memories and traumatic experiences.
She encounters the worst that would ever happen. Gozie, who was lovable and sweet changed for
the worst as he became a violent and controlling man, who abuses Uju physically and emotionally
and it became even worse after Uju could not bear him a male child as she had had three daughters
already, Ego, Nkechiyeye and Nwamaka and all hopes for she getting pregnant proves abortive.
24
“You were happy I was in jail so you could be doing whatever without anyone
questioning you? And how do I even know those brats are mine? I came back to
find you pregnant. How do I know it doesn’t belong to that lover of yours? Why
didn’t you just marry him? ... It means that it sounds like! You’re a cheat and a
whore. And those children are not mine.” (117)
Mama still continues on her search for her beloved brother and when it seems all hope for any
concrete prove of the whereabouts of her brother, she finally receives a call to the east. After thirtytwo years of searching, Pa Ezuma finally gives them a detailed recount of the final days of uncle
Ikenna.
“He was right beside me as he’d been for all those years…He’d been closer to the
grenade so his injuries were more serious…He died two days later.” (384)
The novel finally comes to a close as Uju gives way and moves on to heal with Akin who had been
patiently waiting for her for years. They reconnect and rekindle their love. She finally would be
free and happy, and hopes to help other women who may have suffered from trauma.
Odafen’s debut novel Tomorrow I Become a Woman, through the eyes of Uju, depicts the theme
of memory and trauma in a realistic and emphatic way. It shows how trauma can affect a person’s
sense of self and belonging and how memory can be a sense of pain and healing. It also celebrates
the resilience and courage of women who survive and overcome trauma, and the power of love
and friendship to heal and transform.
3.3.3 Interplay between Tradition and Modernity
Modernity and tradition are two major themes in African literature, especially in the context of
post-colonialism and globalization. Many African writers explore the tensions and conflicts that
arise from the encounter between the indigenous cultures and the imposed western values and
systems. Aiwanose Odafen’s Tomorrow I Become a Woman is a novel that illustrates this interplay
between modernity and tradition through the eyes of Uju, a Nigerian woman who faces various
challenges and dilemma in her marriage, family and society.
25
One of the main conflicts that Uju faces is the choice between education and her duty as a woman
to her marriage. Uju is a bright and ambitious young woman who wants to pursue higher education
and a career.
“I returned to the university, registering to take advantage of the scholarship and
admission I’d deferred… school was fulfilling, the arguments, trading ideas and
solutions, laughing at jokes, meandering between serious and unserious, discussing
things outside the monotonous scope of child bearing and prayers, shored a gaping
hole within me.” (124)
Her mother, who is a traditionalist and a true and concrete follower of the norms and culture of her
people disapproves her aspirations and makes it look like a far-fetched dream for Uju, her dream
of going to school snatched by her duty as woman and mother in her home, and so mama, together
with Gozie, pressures her to leave school and focus on what was more important, her duty to her
home, childbearing.
“Uju, your husband and I have been talking and we think you need to put your
school on hold for now… It is distracting you from what’s important. We think the
stress is one of the reasons you’ve not been carrying to full term… No buts, Uju,
we need to focus on what is important. And what is important right now is Ego
having a brother or a sister.” (125)
Another conflict that Uju faces is the choice between love and duty to her culture. Uju falls in love
with Akin, a Yoruba man who shares her passion for literature and politics, but Uju knows that her
mother will never accept him because he belongs to a different ethnic group, the same ethnic group
that fought against the Igbos in the civil war.
“I wondered what she’d do if she knew of my friendship with Akin, a Yoruba man.
It had been less than a decade since the war ended and our wounds were still fresh.”
(33)
However, Mama is delighted that Gozie, who is an Igbo man, handsome and a Christian, one who
fits into uncle Ikenna’s personality well. Or so they thought.
26
“That’s okay, at least he’s Igbo. I’ve already told brothers that if they like, they
should bring Yoruba girls home. If they think I and your father, a red cap chief will
follow anybody to prostrate in the name of marriage, they are dreaming.” (34)
Uju lives in a society that is undergoing rapid changes and transformations due to the effects of
colonialism, independence, civil war, democracy and globalization. She witnesses the clash
between the rural and the urban, the new and the old, between the religious and the secular,
between the literates and the illiterates.
Uju’s ordeal started at the hospital when the nurses whispered amongst themselves, not knowing
that she had overheard them. Even though they were nurses, they, like everyone else still held on
to the cultural believe of one male child superiority even over five female children.
“Ehya, Na her first pikin and she no even born boy.” (98)
Furthermore, Uju expresses her feelings towards Papa and Mama over their love for culture and
the Igbo language in particular and their refusal to allow the trend that comes with the western
culture (English language) and its norms to influence them as much as it did others.
“There was something about someone singing in our own local language that
always excited them. Papa said that the best way to get a man on your side was to
speak to him in a language he understood. This English is not our language; it is
the white man that gave it to us. We must not speak the white man’s tongue and
forget the one our fathers spoke. We must teach our children just like we have
taught you and your brothers; you must teach yours as well. When you see an Igbo
man, great him in Igbo; let him know he is your brother. That is the only way our
culture will not die out.” (99)
Uju tries to balance her loyalty to her culture and identity, and her openness to new ideas and
opportunities. She also tries to cope with the challenges and pressures that comes with being a
modern African woman.
“Mama became worried when Adaugo had her second child; Chinelo had her first
in 82’. Uju, nothing yet? She asked. Feeling my belly for signs of a bulge. She
recommended herbs, roots and tinctures and I took each one faithfully. We visited
27
pastors, prayer warriors and doctors. Mama said God was punishing me for not
wanting to have a child the first time around, for taking pills and being dishonest in
prayer. She said I needed to beg for forgiveness and mercy. And when I did as
Mama said, crying and pleading for mercy, Mama said I didn’t have enough faith.”
(123-124)
Uju always had second thoughts when it came to subjecting to cultural norms and values because
it went against her dream to be a free and civilized woman who could do as she wish. Mostly, she
bends to these cultural tide due to societal pressure and pressure mostly from Mama who never
gave Uju a little breathing space. Although Uju is a bit surprised when her mother barbs her hair
according to the tradition of her people, she nevertheless expected it to happen looking at the fact
that Mama is a true believer of the Igbo culture and doctrines.
“Mama sat as still as death as Aunty Achebe put the local razor close to her scalp
and slowly set about scraping off every strand of her hair. On the floor beside them
was a heap of hair that had been shaved off. Aunty Achebe was one of the Umuada
and a widow herself; she too had her hair shaved when her husband Anozie had
passed away. I watched the strands settle on Mama’s face, covering most of her
skin there, and on top of her rough black blouse, leaving her scalp frostly exposed.
That Mama agreed to have her hair shaved off was still a shock to me; Mama’s hair
had always been her pride, the one body part she’d always flaunted without caution
or care.” (301)
The interplay between modernity and tradition also comes in full play when Papa dies in the novel.
As a titled man, he needed to be taken back to his home town and then buried by his sons and to
be given the full burial rites of a titled man. Although they could just have a simple burial with
just a priest, the immediate family members and well-wishers, Kelechi, Ikechukwu and
Ugochukwu, who had reverence and a lot of respect for their father, his title and his people’s
tradition (like their father and mother) even after spending most of their lives in Lagos decides to
do the needful and take their fathers corpse home to be buried. In hopes that they wouldn’t be
looked upon as children who neglected their cultural value for a white man’s, as it was a taboo for
an Igbo man to be buried on foreign soil.
28
“Weeks later, we were in Papa’s village to bury him like a proper Igbo man; the
true son of the soil he was; only an ‘efulefu’ would be buried in foreign soil. Papa’s
house in the village was full before we even arrived. My brothers had made sure to
announce the burial ceremony far and wide; posters were put up, flyers printed,
Ankara materials with Papa’s picture stamped on them were distributed to be made
into clothes to be worn for the burial, family members we hadn’t heard from or seen
in years were called and letters mailed to them, Ikechukwu even purchased a full
page announcement in a popular newspaper daily. Everyone had obeyed the clarion
call to come home to give Mazi Nwaike a befitting burial.” (296)
The traditional norms of a proper burial procession was observed to the fullest, even though
Kelechi, Ugochukwu and Ikechukwu knew that it will bore a hole through their pockets, they still
carried on without cutting any cost. Even Uju became worried for her brothers and the dent that
such a lavish display would cause especially when they didn’t receive any monetary gift from
Gozie when he offered to help out.
“The ‘nche abali’ was the first of the festivities, held throughout the night for the
spirits to escort Papa to the other side… Cows and goats had been slaughtered and
their forelimbs sent to Papa’s maternal home as per custom and the remains had
been cut and cooked in an assortment of forms-boiled, roasted, fried…Other groups
carried out elaborate acrobatic moves; jumping over one another, spinning in the
air and landing on their forearms like wild creatures. With each performance, I
worried for my brothers. Did they have the money for such a lavish display? At
midnight, gunshots were fired to inform Papa’s spirit that tradition had been
fulfilled.” (300)
The theme of modernity and tradition which is a dominant theme has a lot of interesting sides to it
as Odafen’s Tomorrow I Become a Woman is a novel that explores the interplay between
modernity and tradition in the African experience through the perspective of Uju, who faces
multiple conflicts and choices in her life. This novel also uses this theme to show the complexity
and diversity of the African reality, and the challenges and opportunities that it presents.
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3.3.4 Love and Sacrifice
Another theme that is dominant in this novel is the theme of love and sacrifice. This is shown in
different forms and degrees by the characters. Uju, the protagonist of the novel is seen to have a
strong affinity and attraction towards her uncle Ikenna, and it is this love that she decides to look
for in a man, and at a point feels like it is practically impossible for her to find a man who could
replace uncle Ikenna.
“My brothers and I worshipped him, and we fought like female rivals for his
attention, but soon it became clear that I was the chosen one –Uncle Ikenna’s
favourite. He would come visit with sweets and hair ribbons hidden in his pockets
and would hand them over to me when he thought my brothers weren’t looking.”
(36)
Although Uju is still a young and naïve little child, she genuinely reciprocates the love her uncle
Ikenna showed her and she even cries her eyes out when it is announced that her husband. Her
beloved Uncle Ikenna, who she thinks would marry her would be getting married to another lady.
“Uncle Ikenna was to marry that year. A nice quiet girl from our town was to be his
bride; he’d met with her family already. Mama didn’t inform me until the day of
the announcement, I cried and cried until the soon-to-be groom himself was forced
to comfort me with ice-cream and reassurance that I would always be his Uju.”(37)
Uju finally grows up into a young beautiful lady, ripe for marriage. She finds the love she seek in
a young and brilliant lecturer in the university. The both of them plays the ‘silent’ love and did not
openly express the love they felt for each other even though the connection could be felt between
them whenever they were together. This became even more pronounced when she goes to tell him
about her intention to get married.
“Smallie, is everything okay? Akin asked. No, I wasn’t going to pretend, I’m
getting married!, What? I’m getting married, I repeated, watching his face carefully.
It was flat and devoid of emotion; only his dilated pupils and the sparse gap between
his lips gave him away. I’d well and truly shocked him. I starred at his lips, a dust
30
of pink in their centre. I’d felt them once, during that night in my third year we
never spoke about, as though it never happened.” (52)
Fast forward to Gozie, who genuinely loves Uju and wants to be with her, at the beginning. Gozie
is described as a smart, handsome, and hardworking young man, who is devoted to the activities
in the church and to his job as a journalist. He is a replica of uncle Ikenna who Uju deem fit to
love as much as she did Uncle Ikenna.
“Gozie reminded me of Uncle Ikenna, and with his easy laugh and charming smile,
he brought back painful memories of the first man I’d ever fallen in love with.” (35)
Gozie played his role as a replica of Uncle Ikenna she had always loved well. He showered Uju
with love and attention. Uju’s dream of a perfect love story had gradually began manifesting.
“Gozie instructed me to dress up one sunny Saturday morning. He was taking me
out. To a special place. It was four months since we’d began seeing each other and
things were moving smoothly, like locomotive of a well-oiled machine.” (41)
Soon after Uju’s wedding to Gozie, she begins to see the monstrous side of Gozie. He became
overprotective and easily flared up, it even gets to a point where he questions her faithfulness to
their marriage.
“Obianuju, you’ve not answered my question. Who were you with?... was it him?
He asked. Was it who? he paused. That man you were with at our wedding. The
one you kept looking at like your lover. You think I didn’t notice.” (110)
Akin, who does not want to be a blockade or hindrance to Uju’s marriage coupled with the fact
that he truly love and value the ‘silent’ love, even though they still could not come to acknowledge
the fact that they had already fallen head over each other, decides to leave Nigeria, at the expense
of making Uju’s happiness, to pursue his passion to become a professor as he states in one of his
many letters to Uju;
“I thought it best to do it this way, Uju. Your marriage means a lot to you and its
best that I respect it. I do not want to be the cause of any more problems between
you and your husband…” (131)
31
Even after several letters between Akin, who is abroad studying and Uju, who is in Nigeria with
her abusive husband Gozie. Uju still prefers to believe that what they shared was friendship and
not related to love. After deciding to get a divorce from Gozie, Sally, Uju’s long-time friend and
school mate, makes the obvious clear to Uju.
“He’s only ever had eyes for you, you know,… He’s been in love with you for as
long as I can remember. I can’t believe you didn’t see it. Love, I weighed the word
in my mind and wondered if I still believed in its existence.” (391)
Uju never wants to admit that she loves Akin, but at the end of it all, ‘fate’ brings them together.
She resolves to call him and after a brief conversation, she finds out that she indeed had missed
his charming smile and laughter. Akin comes back to Nigeria for Smallie (Uju) and things would
never remain the same for her and her children again.
“See you soon, Smallie… I starred at the familiar handwriting disbelievingly, and
slowly fell into a seat to absorb the shock.” (395)
The theme of love and sacrifice also comes to play when Uju’s brothers Kelechi, Ugochukwu and
Ikechukwu decides to teach Gozie a lesson for brutally abusing their one and only Uju, the only
female child and last born of their family.
“Uju, what happened to your face?…you better start talking before we take matters
into our own hands… I narrated the events that had taken place the previous day,
taking great care to leave out the worst of the details…” (112)
Even after Gozie became a rich and influential man, he still remains unchanged and even becomes
worst. He would beat-up Uju at every opportunity he had and would not hesitate to inflict all
several injuries on her, the straw that finally breaks the camel’s back is when Ego, Uju’s first
daughter is beaten by Gozie to the point where she is hospitalized and had to undergo a strenuous
surgery. Uju decides to leave Gozie finally and vows never to return to him. She suffered
incredibly, and sometimes, herself together with her daughters barely had enough food to eat.
Although her siblings and mother comes to check up on her, Ugochukwu goes an extra mile and
does what she had never expected of him.
32
“Ugochukwu had come to look for us at the new apartment, like the others, to
convince me to return to my matrimonial home but he’d been the only one to
provide support when I’d refused to do as he advised. He first came with a bag of
rice and a carton of cooking oil ‘for the children,’ he’d said but I’d wept that day
like an infant. He brought his wife the next time with their children and she’d given
me a warm hug at the door and offered to look after the children whenever I needed
to take care of personal matters.” (381)
What Ugochukwu and his family does for Uju can only be described as a true act of love and
sacrifice as Uju would forever live to remember the kindness and moral support that the brother,
who was the least in the family and who was overlooked and almost forgotten in the house did
more than what she had expected of him.
Apparently, the themes discussed in Odafen’s Tomorrow I Become a Woman are issues affecting
the Nigeria society. Hence, through the formalist approach, this research has examined the themes
with a close reading of the texts.
3.4 Conclusion
This chapter have done a critical analysis of the book Tomorrow I Become a Woman by giving
the synopsis of the novel and examining critically, the interplay of the novel’s elements as well as
some direct quotation from the text which were used as excerpts to adequately discuss the themes
of feminism and women’s empowerment, memory and trauma, the interplay between tradition and
modernity and the theme of love and sacrifice.
The next chapter, chapter four will focus on the language, diction, style, morphology, tone, point
of view and some figures of speech as used by Odafen.
33
CHAPTER FOUR
LANGUAGE AND STYLE
4.0
Introduction
This chapter discusses literary elements such as language, style, tone, structure of the sentence
which the writer has used in her narration. There are writers with different approaches to writing.
In other words, they possess diverse ways of communication through the use of words to convey
meanings and this uniqueness is distinctive or attributive. Odafen’s style is simple and
understandable.
4.1
Language
Language is a vehicle of communication. That is, for communication to be established, language
must be used. Thus, the principal method of human communication, consisting of words used in
structured and conventional way and conveyed by speech, writing or gesture is known as language.
Writers primarily use a written form of language to communicate their ideas and thoughts to the
society. This is to say language and society are inseparable because they complement each other.
4.2
Diction
Diction is the choice and use of words, especially with regard to effective communication. This
has to do with the distinctive manner in which a writer selects his lexicons for discourse.
Odafen’s diction is seen to be approachable or simple with well-structured words which are formed
into sentences to form knowledge in the mind of any reader. Odafen uses our day-to-day
vocabularies in English to portray Nigerian's society relating her thoughts and ideas in her works.
Odafen also employs the use of Nigeria domesticated English expressions and some lexicons
relating to some indigenous and Igbo, Yoruba and Hausa terms in Nigeria to suit her purposes as
seen in the selected texts. For examples:

‘oga’ (13)

‘ichafu’ (13)

‘kudi’ (18)
34
4.3

‘Nne’ (34)

‘biko’ (34)

‘flex’ (40)

‘love nwantiti’ (52)

‘utazi’ (54)

‘knack’ (94)

‘belle’ (94)

‘shakara’ (94)

‘nupenchizhni’ (95)

‘pikin’ (98)

‘ehya’ (98)

‘gini’ (105)

‘ookan’ (139)

‘oloriburuku’ (139)

‘atarodo’ (153)

‘jare’ (260)

‘oyinbo’ (268)

‘jalabiya’ (292)

‘Ozo’ (339)
Style
The literary element known as "style" in literature refers to the ways in which a writer
employs language. The author's word selection, sentence structure, use of figurative
language, and sentence organization, all work in concert to create the desired mood,
images, and meaning in the text. Style helps the author in describing concepts, things, and
events. However, style is distinctive. That is, it is peculiar to an individual; it could be in
speaking or writing. Odafen’s style seems to be readable and comprehensive to an average
reader, devoid of ambiguous statements. She employs, in few instances, the use of pidgin
language in her novel and literary devices with well-structured sentences to drive her
35
intentions to her readers. Hence, her style is more appreciated by every good readers and
critics.
Odafen’s use of pidgin aids easy understanding thereby creating effects for atmospheric
plots. An instance as seen in the novel is:

“Oga, please look this way” (13)

“You dey go clean church?” (19)

“That Sally sef, she too talk!” (50)

“Ehya, Na her first pikin and she no even born boy.” (98)
The Sentences
A sentence is a group of words that is complete, typically containing subject and predicate,
conveying a statement, question, exclamation, or command, etc. A sentence contains an idea or
ideas used to communicate intentions. A good combination of sentences, however, is used to drive
narration to the reader(s). Odafen uses varieties of sentences to pass her intentions to her readers
and formalists are also concerned with the structure of a text because they contain the detail for
analysis.
Sentences Based on Structure or Form
Simple Sentence
A simple sentence is the type of sentence which expresses a single thought or a complete sense
and has only one verb phrase. It is also known as basic sentence. The following are examples of
simple sentence used in the novel.

“I ignored her”. (19)

“I started to say”. (34)

“My strong girl.” (56)

“He shook my hand at the door”. (93)

“He paused”. (110)

“They came within minutes of each other.” (151)

“You’re very right my brother.” (173)

“It was early October.” (191)
36

“He turned to Uzondu next.” (203)

“I rolled my eyes behind him.” (209)

“Answer me.” (223)

“My life is complete now.” (235)

“You must take me there.” (271)

“I worried for my brothers.” (300)
Compound sentence
Compound sentence is the kind of sentence that consists of multiple finite verbs with at least two
coordinate statements. It is the type that comprises two simple sentences mostly joined by
conjunctions. Some of these sentences in the novel include:

“If you wake me up early again, I’ll break your head.” (19)

“I looked away and tried to imagine Mama’s reaction when I told her about Gozie.” (31)

“He was last seen in Asaba, stranded with a leg injury.” (39)

“Womanhood was something to be cherished, a sacred cult I’d joined.” (65)

“Chinelo received her parents’ approval when she finally defied them.” (83)

“But you won’t believe that Christopher isn’t happy about it.” (105)

“Mercy had shined on us and we were finally together again.” (147)

“I made some big friends in the government and the civil service.” (172)

“If indeed you’re in the wrong, we will not fail to reprimand you.” (201)

“If he wants to visit your bed, don’t push him away.” (243)
Complex Sentence
This is the type of sentence with a main clause joined by one or more subordinate clauses. This
type of sentence is marked to the subordinate clause(s) using a subordinate conjunctions such as
when, because, while, since, although, before, etc. Some extracted examples are:

“My agreement to attend church had been temporary until I could come up with a good
enough bargain to get myself out of it the following Sunday.” (15)

“We returned three years later, when it was over.” (38)
37

“Mama pulled me to stand beside Gozie, while she and Papa stood on either side of us.”
(57)

“It wasn’t until they began to play clips from the war that the tears came quietly, until they
were so heavy that she covered her face with her hands.” (82)

“Our people attended events when they heard about them, not when they were invited.”
(107)

“Mama and Gozie spoke for a while afterwards what-what more we could do, treatments
we could try-while I remained in shocked muteness.” (125)

“Officer Musa continued to peruse the front page while I waited patiently for him to finish.”
(134)

“He’d come home unexpectedly in November, when we’d given up on the government
ever keeping its word.” (146)
Sentences Based on Function and Meaning
Interrogative Sentence
This is the type that asks question and ends with a question mark. Some instances are:

“Obianuju, how are you?” (32)

“You’re still lying?” (44)

“Have I failed as a mother?” (45)

“Or don’t you think so?” (62)

“So, when are you getting married?” (72)

“What do you think I’m doing?” (87)

“Where are you from?” (109)

“Don’t you care for your life?” (119)

“How are you?” (133)

“Didn’t the doctor tell you?” (151)

“You who?” (147)

“Who would have thought?” (169)

“Is everything okay?” (184)
38

“Do you pray at all?” (230)

“A worthy woman who can find?” (251)

“Obianuju, are you okay?” (304)
Imperative Sentence
This type is used to command, warn, suggest, request or gain permission. And this kind of sentence
is used to create an effect on an addressee. Some of the extracted examples include:

“You’re a witch” (14)

“… I’ll break your head” (19)

“You better dance” (33)

“Uju, a woman should marry when the man is ready” (45)

“I now pronounce you man and wife” (64)

“Please tell me those tablets aren’t yours” (79)

“You should return to the car” (105)

“Chigozie, come and escort me to the bus stop” (125)

“Come in” (133)

“See, you are not returning to that office on Monday.” (144)

“Hope you are not involved in criminal activities.” (171)

“Please stop crying.” (201)

“I’ve been thinking of talking to Kelechi’s friend.” (223)

“Promise me you won’t tell Adaugo… ” (262)

“She should have just told me she didn’t want to go.” (293)
Exclamatory Sentence
This is the kind of sentence that expresses a strong emotion or surprise. Extracted examples
include:

“Tell me what I heard isn’t true!” (14)

“I’d thought I had more time!” (42)

“Also, your husband should be you ultimate friend!” (72)
39

“Your people need to learn to mind their business!” (110)

“Convince him!” (130)

“It’s enough!” (142)

“The only Hausa man in Nsukka!” (170)

“Biskits!” (180)

“Tah!” (203)

“Marriage is about forgiveness!” (226)

“Obiegeli, let her speak!” (241)

“You’re a witch!” (275)

“Stop!” (287)

“I said your father is dead!” (294)

“All these things can only be done with money!” (309)

“Jesus Christ!” (324)

“His wife!” (341)

“You have no shame!” (354)

“Wow!” (374)

“It’s not possible!” (384)

“Praise the Lord!” (393)
4.4
Morphology
Morphology is the study of the internal rules that govern the formation of words. It deals with how
words are constructed into larger ones. Clippings, prefixes, suffixes, abbreviations, etc. are
morphological processes to the formation of words.
Affixation
This has to do with the process of attaching affix or morpheme to build up a new word. It can be
from the beginning (prefix) or the end of words (suffix).
Prefix

“…disbelief” (41)
40

“…reassured” (47)

“…unexpected” (51)

“…impossible” (56)

“…unyielding” (57)

“…discomfort” (65)

“…reproduction” (66)

“…unblinkingly” (73)

“…uninteresting” (96)

“…invisible” (109)

“…indiscipline” (121)
Suffix

“…backseat” (52)

“…someone” (53)

“…banknotes” (56)

“…midnight” (60)

“…heartbeat” (61)

“…choirmaster” (81)

“…talkative” (92)

“…groundnuts” (99)

“…afterwards” (125)

“…taillight” (135)

“…whereabouts” (145)

“…classmate” (161)

“…hardship” (173)

“…underneath” (178)

“…predictable” (183)

“…sympathizers” (191)

“…handkerchief” (201)

“…interjected” (210)
41

4.5
“…fearful” (255)
Point of View
Point of view is the narrative technique used by an author to tell a story. It is a literary tool used to
say who is saying or telling a story and from what direction. However, there are first person
narrative (I, we) where the author assumes the position of the character; the second person narrative
(you) where the writer speaks of someone's action, feelings, etc.; and the third person narrative
(he, she or it) where the actions, feelings, conversations, etc. of a character or characters is reported
through the eyes of the author (omniscient narrator).
Odafen uses the first and third person narrative in her novel, Tomorrow I Become a Woman and
the story is told through the eyes of Uju, the protagonist of the novel. In other words, Odafen
assumes the role of the character (Uju) with a personalized pronoun 'I'.
4.6
Tone
The tone has to do with the manner or perception of a writer in which speech and writing are
expressed with regards to particular settings and characters. It reflects the emotion of the author
which, at the end, the readers assume same to help the understanding of the story.
The tone employed in Odafen’s Tomorrow I Become a Woman help the reader(s) to create a real
world. Odafen being a feminist reveals a sad and challenging note about a patriarchal society to
her readers and how women are being subdued by men.
4.7
Figures of Speech
These are words or phrases which intents are to say more about idea(s) or thought(s). Odafen uses
different figures of speech to draw the attention of her reader(s), adding emotional intensity and
creating imaginative pleasure and excitement in their minds.
Simile: Simile is a figurative device used to show comparison between two things of different
nature. The comparison is often introduced by the words 'like' or 'as'. For examples:

“His skin glowed like polished wood...” (20)
42

“I stood quietly as she extolled my virtues, like a market woman trying to sell off her
goods” (21 )

“I felt jealously curl like a hot ball in my chest.” (21 )

“…we fought like female rivals.” ( 38)

“… whenever he ate his food open-mouth like a goat chewing cassava.” (60)
Personification: Personification is a figurative device or figure of speech in which an inanimate
object is given an attribute of a human being. For instances:
4.8

“The cold night air washed over her face, giving her a little retrieve.” (14)

“A sob escaped her lips.” (15)

“And then, bitterness crept into her heart when he did not understand.” (35)
Conclusion
This chapter has done a critical analysis on some of the literary and figurative devices. The
language, diction, style under which include the various sentence structures such as simple,
compound and complex sentences were examined. Also, sentences based on function and meaning
such as, interrogative, imperative and exclamatory sentences were also examined. The morphology
which includes; affixation (suffix and prefix), point of view and figures of speech present in
Odafen’s Tomorrow I Become a Woman have been adequately discussed.
The next chapter, chapter five will emphasize in the summary, conclusion and recommendation.
43
CHAPTER FIVE
SUMMARY, RECOMMENDATION AND CONCLUSION
5.0
Introduction
This chapter contains summary, conclusion, and recommendation. In other words, the chapter
summarizes the whole work. It captures the salient points of the project.
5.1
Summary
In this study, an attempt has been made to do a thematic analysis of Odafen’s Tomorrow I Become
a Woman. The theme is the intention of the writer as reveal through the language and style
employed. The researcher has carried out a formalist's approach towards unraveling the issues in
the selected stories.
Writers are said to be the custodians of truth through their writings. They create consciousness in
the mind of their readers, providing solutions to ills in the society. This consciousness helps writers
to promote and develop and healthy society
Unlike Flora Nwapa, Zaynab Alkali and Buchi Emecheta, the first generation female writers who
focus their themes around the ideology of gender discrimination in a patriarchal society,
contemporary writers like Aiwanose Odafen does not just discuss the idea of feminism but drives
home more controversial issues concerning the life of humans as seen in her novel through the
eyes of Uju.
The study reveals how Obianuju digs into issues surrounding marital life, women empowerment,
memory and trauma, love and sacrifice, patriotism, domestic violence, and the interplay between
modernity and tradition and this makes her exceptional among her contemporaries. She features
Nigeria-like characters across gender, religious and cultural backgrounds to achieve smooth story
telling.
44
5.2
Conclusion
This work has rightly brought out the themes in the novel. Hence, this fulfills one of the intents of
writing. The novel can be useful to feminist activism, psychoanalysis and to the linguist(s)
interested in the study of stylistics.
Odafen’s story portray hardship, agony, depression in family and school. Her works help to create
consciousness and possible ways out of societal problems. Her work sets out to liberate and
redefine livelihood.
From the story, Mama and Uju are character who depicts issues surrounding the interplay between
tradition and modernity and also memory and trauma. On the other hand, Kelechi, Ugochukwu
and Ikechukwu, Uju’s siblings, all shower their little sister with much love and others like Akin,
Chinelo and Adaugu are even ready to sacrifice a lot just to make sure that Uju is not left out.
These and many other vices are social realism weaved into words to help the society stay aware
and ever-ready to tackle them. Odafen and her works in this sense have proven herself worthy to
be called a social realist and feminist.
5.3
Recommendations
This study has reviewed themes through the eyes of a formalist. Having discussed the style and
language used therein, a further research should be done on the stylistic analysis of Aiwanose
Odafen’s Tomorrow I Become a Woman, a feminist reading of Aiwanose Odafen’s Tomorrow I
Become a Woman and a psychoanalytic reading of Aiwanose Odafen’s Tomorrow I Become a
Woman.
45
46