September 11, 2024 - English Studies

“Speaking Truth to Power”: An Interview with Chinua Achebe: Summary and Critique

“Speaking Truth to Power”: An Interview with Chinua Achebe first appeared in 1994 in the Times Literary Supplement.

Introduction: “Speaking Truth to Power”: An Interview with Chinua Achebe

“Speaking Truth to Power”: An Interview with Chinua Achebe first appeared in 1994 in the Times Literary Supplement. This insightful interview showcases Achebe’s unwavering commitment to social justice and his critique of Western narratives about Africa. Achebe’s articulate and passionate responses provide valuable insights into his literary philosophy, highlighting the importance of African literature in challenging colonial stereotypes and empowering African voices. His interview serves as a significant contribution to the field of literary theory, particularly in discussions of postcolonialism, cultural identity, and the power of language to shape perceptions.

Summary of “Speaking Truth to Power”: An Interview with Chinua Achebe

On the Role of Teachers and Writers: Achebe discusses the importance of organization among teachers and writers. He emphasizes that having a collective platform strengthens their influence, especially in confronting authorities. He reflects on his efforts in founding the Association of Nigerian Authors to create such a collective voice.
“It is necessary to have the power of a group.” (Achebe)
Political Corruption and Leadership in Nigeria: Achebe is deeply critical of the Nigerian government, particularly its complicity in corruption. He recounts how he rejected a national honor as a protest against the corruption permeating Nigeria, citing President Obasanjo’s failure to address these issues.
“I turned it down because I was not pleased, I was not happy with the way things are going… corrupt bandits.” (Achebe)

Academic Freedom and the Struggles in Nigerian Universities: Achebe speaks about the challenges facing academic freedom in Nigeria, exacerbated by poverty, unpaid salaries, and frequent strikes. The declining state of education, according to Achebe, makes it difficult for faculty to speak truth to power.
“There is some, but not enough… we can’t really talk about academic freedom.” (Achebe)
Nigerian Intellectual Exodus: Many Nigerian intellectuals are leaving the country due to harsh living and working conditions. Achebe points out that poor salaries and insecurity drive this exodus, limiting the nation’s intellectual progress.
“Far more people have given up on change and are trying to leave the country.” (Achebe)
Reflection on Colonialism and its Impact on Education: Achebe contrasts the state of education under British colonial rule with today’s Nigeria, arguing that though colonialism had negative impacts, the education system then was better than now.
“It’s like night and day… Day is my time, and night is now.” (Achebe)

On Writing and Cultural Influence: Achebe reflects on his journey as a writer, particularly the influence of Yeats’ poem “The Second Coming” on Things Fall Apart. He comments on how the novel addresses universal human experiences and struggles, which resonate globally, including with people fighting colonialism in other contexts.
“Yeats’s poem struck me… on the widening gyre of human history and the ever-present possibility of catastrophic encounters.” (Achebe)
On Democracy and External Influence: Achebe discusses the challenges of democracy, suggesting that every society must determine its political path. While external influences, such as imperialism, shape societies, it is ultimately up to the people to decide their own future.
“In the end… you alone have to put it all together.” (Achebe)
Cultural Exchange in American Higher Education: Achebe observes that American students are curious and open to international perspectives, but notes that Nigerian students tend to be more serious about their studies due to their challenging conditions.
“Students in Nigeria are far more serious about being students… the students here have a lot.” (Achebe)

Achebe as a Political Writer:Achebe identifies himself as a political writer, though not in the sense of being a politician. He believes politics is central to life and critiques how, in the West, politics is often downplayed due to the manipulation of power by authorities.
“I think politics are at the very root of what life is.” (Achebe)

Literary Terms/Concepts in “Speaking Truth to Power”: An Interview with Chinua Achebe

Literary Term/Concept	Description	Context in the Interview
Metaphor	A figure of speech where one thing is used to represent something else.	Achebe uses the “emperor” as a metaphor for authority and power, both in Nigeria and the U.S. “The emperor is very, very clever and doesn’t often show his true colors.”
Colonialism	The practice of acquiring full or partial control over another country and exploiting it.	Achebe reflects on colonialism’s destructive impact on Nigerian society and how it shaped his writing, especially in Things Fall Apart.
Tragedy	A dramatic genre that typically involves human suffering and often ends in disaster.	Achebe compares Okonkwo’s fate in Things Fall Apart to a tragic fall due to personal flaws and societal forces. “He had his faults. He contributed to his own undoing.”
Autobiographical Elements	Aspects of a writer’s own life that are reflected in their literary work.	Although Achebe denies Okonkwo is autobiographical, the novel reflects his own experiences with colonialism and the clash of cultures.
Political Writing	Writing that engages with political issues or themes.	Achebe sees himself as a political writer, concerned with the state of Nigeria and its leadership. “I think politics are at the very root of what life is.”
Intertextuality	The relationship between texts, how one text references or influences another.	Achebe draws inspiration from Yeats’ The Second Coming for the title and themes of Things Fall Apart.
Symbolism	The use of symbols to represent ideas or qualities.	The “falling house” metaphor is used to symbolize the collapse of Nigeria’s social, economic, and political systems. “When you are told that the house has fallen…”
Irony	A literary device where the intended meaning is opposite of what is stated.	Achebe mentions the irony of colonialism bringing education to Nigeria, but today’s education system is worse than under colonial rule. “It’s like night and day.”
Cultural Imperialism	The imposition of one culture over another, often associated with political or economic power.	Achebe comments on America’s cultural dominance globally and draws parallels to British colonialism in Nigeria. “MeWorld eventually triumphs over jihad.”
Characterization	The process by which an author reveals a character’s personality and development.	Achebe discusses the character of Okonkwo, not as a perfect man but one with flaws that contribute to his downfall. “The good man does not necessarily always succeed.”
Universal Themes	Themes that are common across different cultures and time periods.	Achebe reflects on how Things Fall Apart resonates with universal experiences, such as resistance to oppression and the consequences of societal change.
Historical Context	The social, political, and cultural conditions during the time a work is set or written.	Achebe’s writing is deeply rooted in the historical context of colonial and post-colonial Nigeria, shaping his views on leadership and democracy.
Post-Colonial Literature	Literature written in response to the effects of colonialism on cultures and societies.	Achebe’s works, including Things Fall Apart, are seminal in post-colonial literature, addressing the clash between indigenous cultures and colonial powers.
Fiction vs. Reality	The blending of fictional narrative with real-world events and experiences.	Achebe frequently merges his life experiences with his fictional works, such as using the Nigerian civil war as a backdrop for his short stories.
Bildungsroman	A coming-of-age story that focuses on the psychological and moral growth of a protagonist.	Although Achebe doesn’t explicitly write a bildungsroman, the theme of personal and societal transformation is central to his discussions about education and leadership in Nigeria.
Allegory	A narrative in which characters or events represent broader ideas or themes.	Okonkwo’s struggles in Things Fall Apart can be seen as allegorical of the struggle between traditional societies and colonial forces.

Contribution of “Speaking Truth to Power”: An Interview with Chinua Achebe to Literary Theory/Theories

Post-Colonial Theory: Challenging Colonial Narratives: Achebe’s reflections in the interview contribute significantly to post-colonial theory by highlighting the lasting effects of colonialism on African societies and literature. He discusses how colonialism disrupted traditional societies and imposed foreign values, which became a core theme in his literary work.
“Colonialism brought Christianity, the military, and trade. It breaks up society, creates strangers among people in the same village.” (Achebe)
Cultural Identity and Representation: Achebe’s interview supports the post-colonial theoretical emphasis on cultural identity and representation. By rejecting the imposed Western narratives, Achebe’s works aim to reclaim the African story from a native perspective. He emphasizes the importance of African writers defining their own narratives rather than being subjected to Western interpretations.
“I had a burning sensation to tell this story, but I did not know its shape or form… My teachers could teach me about Dickens and Hardy, not how to write an African novel.” (Achebe)

Hybridity in Post-Colonial Discourse: Achebe touches on the concept of cultural hybridity, a key tenet of post-colonial theory, through his own life experiences and in his novels. He navigates the intersection of traditional African values and Western influences, showing how these cultural forces often collide and create complex identities.
“I often wonder why someone would reject the religion of his ancestors for some brand-new one. It seems like the act of traitors… there is something my parents’ generation saw that my generation cannot really appreciate.” (Achebe)
Tragedy and the Post-Colonial Subject: Achebe’s exploration of the tragic downfall of Okonkwo in Things Fall Apart provides insights into the post-colonial subject’s psychological and cultural struggles. The novel reflects the tensions between personal agency and external forces such as colonialism, which are central themes in post-colonial theory.
“The ‘good man’ does not necessarily always succeed… He had his faults. He contributed to his own undoing.” (Achebe)
The Role of Power and Resistance: Achebe’s critique of political power in both Nigeria and the West aligns with the Marxist literary framework, which examines how power structures influence society and culture. Achebe shows how oppressive regimes, whether colonial or post-colonial, suppress intellectual and creative freedom, echoing Marxist concerns about power, class, and resistance.
“What can be said that everybody doesn’t already know?… The collapse of the economy, the hunger, and the violence today make it difficult for someone in the country to speak truth to power.” (Achebe)

Universalism vs. Cultural Relativism: Achebe’s discussion of the universality of certain themes in literature, alongside his insistence on the importance of local context and cultural specificity, adds to the debates in literary theory between universalism and cultural relativism. He underscores the need for literature to reflect specific cultural realities while still resonating with universal human experiences.
“The students learn that there is another world somewhere… real people, not funny people but good people with ambition.” (Achebe)
Orality and African Literary Tradition: Achebe’s contribution to literary theory also includes the importance of African oral traditions in shaping written African literature. He incorporates elements of storytelling, folklore, and proverbs into his work, advocating for the preservation of African oral culture in the face of Western literary forms.
“The image that always comes to my mind is the proverb I have in my language… We are talking about a calamity.” (Achebe)
Literary Resistance to Imperialism: Achebe’s focus on resisting cultural imperialism contributes to the broader field of post-colonial literary theory, which advocates for the decolonization of the mind and intellectual spaces. His refusal to write about America, as he mentions in the interview, is an act of resistance to the global dominance of Western narratives.
“I say no—I’m not going to [write a book about America], because there are so many people writing books about America, whereas other parts of the world have no one attending to their problems.” (Achebe)

Examples of Critiques Through “Speaking Truth to Power”: An Interview with Chinua Achebe

Literary Work	Critique Through Themes in Achebe’s Interview	Relevant Quotation/Theme from Achebe’s Interview
Things Fall Apart by Chinua Achebe	Critique centers on the destructive impact of colonialism and the clash between traditional African culture and Western influences. Achebe’s emphasis on cultural identity and post-colonial hybridity is central to understanding the novel’s representation of societal breakdown and individual tragedy.	“Colonialism brought Christianity, the military, and trade. It breaks up society, creates strangers among people in the same village.”
Heart of Darkness by Joseph Conrad	Achebe critiques Heart of Darkness for its dehumanizing portrayal of Africans and its colonial mindset. His post-colonial critique emphasizes that Western literature often marginalizes African voices, a theme discussed in the interview regarding the importance of African authors telling their own stories.	“I had a burning sensation to tell this story… My teachers could teach me about Dickens and Hardy, not how to write an African novel.”
The Second Coming by W.B. Yeats	Achebe’s use of Yeats’ poem to inspire the title and themes of Things Fall Apart offers a critique of the cyclical nature of human history and the constant threat of societal collapse. The widening gyre reflects the destabilization of traditional societies by external forces like colonialism.	“Yeats’s poem struck me… It was a very deep and profound meditation on the widening gyre of human history and the ever-present possibility of catastrophic encounters.”
The Wretched of the Earth by Frantz Fanon	Achebe’s critique of power dynamics and colonial oppression in the interview resonates with Fanon’s analysis of the psychological and social impacts of colonialism. Both authors address the importance of resisting external forces and reclaiming cultural identity in post-colonial contexts.	“The collapse of the economy, the hunger, and the violence today make it difficult for someone in the country to speak truth to power.”

Criticism Against “Speaking Truth to Power”: An Interview with Chinua Achebe

Limited Focus on Gender and Feminism: Achebe’s interview does not deeply explore issues of gender or feminism, which are important components of post-colonial discourse. His works, though addressing universal human struggles, have been critiqued for not giving enough attention to the role of women in resisting colonialism and oppression.
Romanticization of Pre-Colonial Africa: Achebe’s reflections on colonialism, particularly the notion of the destructive force it brought upon Nigeria, can be seen as overly romanticizing pre-colonial African societies. Critics may argue that his portrayal downplays the complexity and internal conflicts within these societies before colonial intervention.
Overemphasis on National Politics and Corruption: While Achebe’s critique of corruption in Nigeria is insightful, some might criticize the interview for focusing too heavily on political failures, without offering concrete solutions or sufficient discussion on how Nigerian intellectuals and artists could counteract these issues through activism and cultural production.

Absence of Detailed Discussion on Globalization: Though Achebe briefly mentions American cultural imperialism, the interview lacks a comprehensive critique of globalization’s impact on African nations. Critics may argue that Achebe could have provided more insights into how global economic and cultural forces are shaping modern African identities and societies.
Narrow Lens on Education: Achebe’s reflections on the decline of education in Nigeria may be critiqued for not fully exploring alternative educational models or reforms. The interview discusses the failures of the current system, but critics may feel that it lacks a visionary approach to how education can be improved in the post-colonial context.

Representative Quotations from “Speaking Truth to Power”: An Interview with Chinua Achebe with Explanation

Quotation	Explanation
“It is necessary to have the power of a group.”	Achebe highlights the importance of collective action and organization, whether among writers, teachers, or citizens, to effectively challenge authority and advocate for change.
“Colonialism brought Christianity, the military, and trade. It breaks up society.”	This quote emphasizes Achebe’s view on the destructive impact of colonialism, which disrupts traditional structures and imposes foreign values, a central theme in his works like Things Fall Apart.
“The emperor is very, very clever and doesn’t often show his true colors, but his authority is manifest.”	Achebe uses the metaphor of the “emperor” to describe power and authority, both in Nigeria and globally. It reflects his views on how power can be concealed yet omnipresent.
“The ‘good man’ does not necessarily always succeed.”	This reflects Achebe’s exploration of tragedy in his works, particularly Things Fall Apart, where the protagonist Okonkwo faces downfall despite his efforts, pointing to the complex nature of fate.
“I had a burning sensation to tell this story, but I did not know its shape or form.”	Achebe describes his journey as a writer, expressing the internal drive to tell the African story from a native perspective, which became a defining feature of his literary contributions.
“It is because of the country, the government, of the collapse of so many things.”	Achebe speaks about the state of Nigeria’s decline, attributing the failures in education and other sectors to government corruption and mismanagement, which are recurrent themes in his critique.
“I turned it down because I was not pleased with the way things are going in Nigeria.”	Achebe explains his rejection of a national honor, symbolizing his protest against corruption and misrule in Nigeria, reinforcing his commitment to speaking truth to power.
“There is another world somewhere… not funny people but good people with ambition.”	Achebe emphasizes the need for students, especially in the West, to recognize and understand cultures beyond their own, advocating for cross-cultural awareness and empathy.
“We teach what we know, and the rest is up to you.”	This quote reflects Achebe’s belief in education’s limitations and the responsibility of students to actively seek truth and knowledge beyond formal instruction.
“Every people should decide for themselves what political system they need.”	Achebe supports the idea of self-determination, arguing that each society must choose its own path to democracy or governance rather than adopting imposed systems, a key post-colonial principle.

“English and the African Writer” by Chinua Achebe: Summary and Critique

“English and the African Writer” by Chinua Achebe, first appeared in 1965 in the journal Transition, as been instrumental in shaping the discourse around postcolonial literature.

Introduction: “English and the African Writer” by Chinua Achebe

“English and the African Writer” by Chinua Achebe, first appeared in 1965 in the journal Transition, as been instrumental in shaping the discourse around postcolonial literature, particularly in Africa. Achebe’s exploration of the complexities of language, identity, and colonial legacies has had a profound influence on literary theory and continues to be a vital text in understanding the intersections of language, culture, and power.

Summary of “English and the African Writer” by Chinua Achebe

Defining African Literature: There’s no single definition for “African Literature.” It can be national (written in a nation’s language) or ethnic (written in a specific ethnic group’s language). A conference about defining African Literature struggled to find a consensus (1-4).
The Role of English in African Literature: Due to colonialism, English has become the national language in many African countries. Achebe argues that African writers who choose English are not being unpatriotic, but rather using the language they have to reach a wider audience (5-9).

Benefits of Writing in a World Language: Writing in a world language like English allows African writers to connect with a global audience and share their unique experiences (10-12).
Using English Effectively: While some believe a writer can never use a second language as well as their first, Achebe provides examples of Africans who have excelled in English (13-14).
The African Voice in English: African writers don’t need to perfectly mimic native English speakers. They should aim to create an “African English” that conveys their unique experiences (15-17).

The Importance of Mother Tongues: While Achebe uses English, he acknowledges the value of writing in African languages. He emphasizes the need for both national and ethnic literatures to flourish (23-24).
Conclusion: Achebe believes the English language can be adapted to carry the weight of the African experience. This “new English” will be in conversation with its English roots but will also reflect its African environment (25).

Literary Terms/Concepts in “English and the African Writer” by Chinua Achebe

Literary Term/Concept	Explanation in Context of Achebe’s Essay
Language and Identity	Achebe discusses how language shapes cultural identity, especially for African writers using English. He explores whether African writers should write in English or their native languages and the implications for identity.
Colonialism	Achebe critiques the colonial legacy, particularly how it imposed foreign languages like English on African nations. He reflects on how this affects African literature and the challenges it poses to African writers.
National vs. Ethnic Literature	Achebe distinguishes between “national literature” (written in the national language, English, for wider consumption) and “ethnic literature” (written in local languages for smaller, ethnic groups). This distinction is important for understanding the diversity of African writing.
Cultural Hybridity	Achebe argues that African writers should adapt English to reflect African realities, creating a “new English” that carries African experiences and cultural nuances while remaining comprehensible to an international audience.
Tradition vs. Modernity	The essay discusses the tension between African traditions (represented by indigenous languages and stories) and modernity (represented by the use of English and participation in global literature).
Literary Authenticity	Achebe questions the authenticity of African literature written in foreign languages. He explores whether African literature must be written in indigenous languages to be “authentic,” or if it can still convey African experiences in English.
Literature and Power	Language is seen as a tool of power. Achebe reflects on how the English language, as a colonial legacy, holds power over African narratives and how African writers must reclaim that power by using English on their own terms.
Cultural Transmission	Achebe notes the role of literature in transmitting culture. He acknowledges that writers like Amos Tutuola, despite using imperfect English, can still convey the richness of African oral traditions and folklore.
Postcolonialism	Achebe’s essay engages with postcolonial themes, examining the aftermath of colonial rule in Africa, particularly the linguistic and cultural impacts of colonization on African writers and the broader African literary tradition.

Contribution of “English and the African Writer” by Chinua Achebe to Literary Theory/Theories

Literary Theory	Achebe’s Contribution	Quotations from the Essay
Postcolonial Theory	Achebe addresses the imposition of English by colonial powers and its impact on African identity and literature. He advocates for the use of English, but in a way that reflects African experiences.	“The price a world language must be prepared to pay is submission to many different kinds of use. The African writer should aim to use English in a way that brings out his message best…”
Linguistic Relativity	Achebe argues that while English is a colonial language, it can still be adapted to express African realities. He advocates for a “new English” that reflects African experiences.	“I feel that the English language will be able to carry the weight of my African experience. But it will have to be a new English, still in full communion with its ancestral home but altered to suit its new African surroundings.”
Cultural Hybridity	Achebe’s concept of adapting English to African contexts aligns with the theory of cultural hybridity, where indigenous and colonial cultures merge to form something new.	“Those of us who have inherited the English language may not be in a position to appreciate the value of the inheritance.”
Nationalism in Literature	Achebe differentiates between national and ethnic literatures, where national literature (in English) serves the entire country, while ethnic literature (in local languages) serves specific groups.	“If you take Nigeria as an example, the national literature, as I see it, is the literature written in English; and the ethnic literatures are in Hausa, Ibo, Yoruba, Effik, Edo, etc.”
Globalization of Literature	Achebe sees English as a tool that allows African writers to reach a global audience, even if it complicates their relationship with their cultural roots.	“There is certainly a great advantage in writing in a world language.”
Cultural Transmission	Achebe emphasizes the role of literature in transmitting culture and argues that English can serve as a medium for sharing African stories with a global audience.	“What I do see is a new voice coming out of Africa, speaking of African experience in a world-wide language.”
Language as Power	Achebe acknowledges that English, as a colonial language, carries power. However, he also argues that African writers can reclaim that power by using English on their own terms.	“The country which we know as Nigeria today began … as the arbitrary creation of the British.”
Authenticity in African Literature	Achebe challenges the notion that African literature written in English is inauthentic. He argues that African writers can adapt English to authentically reflect African experiences.	“The African writer should aim at fashioning out an English which is at once universal and able to carry his peculiar experience.”
Identity Politics	Achebe’s reflections on language and identity reflect broader themes in identity politics, particularly how postcolonial subjects negotiate between their indigenous and colonial identities.	“Is it right that a man should abandon his mother-tongue for someone else’s? It looks like a dreadful betrayal and produces a guilty feeling.”

Examples of Critiques Through “English and the African Writer” by Chinua Achebe

Literary Work	Achebe’s Critique
Heart of Darkness by Joseph Conrad	While Achebe acknowledges Conrad’s contribution to African literature, he notes that the novel’s perspective is ultimately colonial and perpetuates stereotypes about Africa and Africans.
Heart of the Matter by Graham Greene	Achebe argues that Greene’s novel fails to qualify as African literature because it could have been set anywhere outside of Africa. The setting is not integral to the story’s themes or characters.
Dead End of African Literature by Obi Wali	Achebe disagrees with Wali’s assertion that African literature must be written in indigenous languages. He argues that using English can be a powerful tool for expressing African experiences.
The Feather Woman of the Jungle by Amos Tutuola	Achebe praises Tutuola’s use of English, noting how he has transformed the language into a unique and effective tool for storytelling. The novel’s distinctive style and African worldview make it a valuable contribution to African literature.

Criticism Against “English and the African Writer” by Chinua Achebe

Language and Identity: Some critics argue that Achebe’s emphasis on English as a tool for African writers undermines the importance of indigenous languages and their role in shaping African identities and cultures.

Colonialism and Postcolonialism: While Achebe acknowledges the complexities of colonialism, some critics argue that his essay doesn’t fully explore the ways in which colonialism continues to shape African societies and literatures.
Western Influence: Some critics suggest that Achebe’s approach to African literature is overly influenced by Western literary traditions and that he may have overlooked the unique contributions of African oral and written traditions.
Subaltern Voices: Critics have questioned whether Achebe’s focus on the experiences of educated elites in Africa adequately represents the diverse voices and perspectives of the subaltern, including women, marginalized groups, and those living in rural areas.

Cultural Appropriation: Some argue that Achebe’s use of English, even if adapted, can be seen as a form of cultural appropriation, as it can erase or marginalize indigenous languages and cultures.

Representative Quotations from “English and the African Writer” by Chinua Achebe with Explanation

Quotation	Explanation
“The African writer should aim to use English in a way that brings out his message best.”	Achebe advocates for African writers to adapt English to reflect African realities. He acknowledges English as a colonial language but emphasizes that it can be reshaped to convey African experiences effectively.
“I feel that the English language will be able to carry the weight of my African experience.”	Achebe believes that English, despite its colonial roots, can carry the complexity and depth of African cultural experiences. This suggests that language is a tool that can be molded rather than a fixed entity.
“What I do see is a new voice coming out of Africa, speaking of African experience in a world-wide language.”	Achebe highlights the emergence of African literature written in English, which allows African stories to reach a global audience. This speaks to the potential of English as a bridge between Africa and the world.
“Is it right that a man should abandon his mother-tongue for someone else’s? It looks like a dreadful betrayal.”	Achebe raises a key dilemma for African writers: whether to write in indigenous languages or in English. He acknowledges the sense of betrayal some feel when abandoning their native tongues for a colonial language.
“The price a world language must be prepared to pay is submission to many different kinds of use.”	Achebe points out that for English to be a true global language, it must be flexible and open to adaptation by different cultures. He argues that African writers should not feel constrained by the rules of English as it is traditionally used.
“There is certainly a great advantage in writing in a world language.”	Achebe acknowledges the practical benefits of writing in English, particularly the access it provides to global readership. This statement reflects his pragmatic view on the advantages of using a widely spoken language.
“A national literature is one that takes the whole nation for its province, and has a realized or potential audience throughout its territory.”	Achebe differentiates between national and ethnic literature, explaining that national literature, such as literature written in English in Nigeria, has the potential to reach a broader audience compared to ethnic literature written in local languages.
“We are by-products of the same processes that made the new nation states of Africa.”	Achebe argues that African writers are products of the same historical and political processes that shaped modern African nations. The colonial experience, including the imposition of English, is part of African history and identity.
“The world is like a Mask, dancing. If you want to see it well you do not stand in one place.”	This metaphor, drawn from Achebe’s novel Arrow of God, highlights the importance of perspective. Achebe uses this metaphor to explain why African writers need to engage with the world from different angles, including through the use of English.
“Those of us who have inherited the English language may not be in a position to appreciate the value of the inheritance.”	Achebe reflects on the complexity of inheriting English as a colonial language. He acknowledges that while English is a product of colonization, it is also a valuable tool for communication and expression in the modern world.

“An Image of Africa: Racism in Conrad’s Heart of Darkness” by Chinua Achebe: Summary and Critique

“An Image of Africa: Racism in Conrad’s Heart of Darkness” by Chinua Achebe first appeared in 1975 as a Chancellor’s Lecture at the University of Massachusetts.

Introduction: “An Image of Africa: Racism in Conrad’s Heart of Darkness” by Chinua Achebe

“An Image of Africa: Racism in Conrad’s Heart of Darkness” by Chinua Achebe first appeared in 1975 as a Chancellor’s Lecture at the University of Massachusetts. This powerful critique challenged the novel’s reputation as a masterpiece, arguing that Conrad’s portrayal of Africa and its people was deeply racist and perpetuated harmful stereotypes. Achebe’s essay became a cornerstone of postcolonial literary theory, inspiring countless scholars to examine the ways in which Western literature has marginalized and misrepresented non-Western cultures. Its significance lies in its ability to dismantle the colonial gaze and offer a more nuanced understanding of the complexities of race, representation, and power in literature.

Summary of “An Image of Africa: Racism in Conrad’s Heart of Darkness” by Chinua Achebe

1. Heart of Darkness and the Western image of Africa

Achebe argues that Heart of Darkness presents Africa as “the other world,” a stark contrast to Europe, symbolizing the antithesis of civilization.

Quote: “Africa is set up as a foil to Europe, as a place of negations at once remote and vaguely familiar…” (Achebe, 15).

2. Dehumanization of Africans in Heart of Darkness

Conrad’s portrayal of Africans strips them of their humanity, presenting them as mere caricatures or props for the psychological disintegration of European characters like Kurtz.

Quote: “Africa as setting and backdrop which eliminates the African as human factor…Africa as a metaphysical battlefield devoid of all recognizable humanity” (Achebe, 21).

3. Conrad’s portrayal of Africans as “savage”

Achebe critiques Conrad’s depiction of Africans through animalistic and savage imagery, highlighting the use of derogatory language and a demeaning attitude.

Quote: “He was an improved specimen; he could fire up a vertical boiler… to look at him was as edifying as seeing a dog in a parody of breeches” (Achebe, 18).

4. Implicit racism in Western liberalism

Achebe identifies a form of “liberalism” in Conrad that espouses humanitarian concerns but subtly reinforces a racist worldview by asserting the superiority of Europeans.

Quote: “The kind of liberalism espoused here by Marlow/Conrad… almost always managed to sidestep the ultimate question of equality between white people and black people” (Achebe, 21).

5. The inadequacy of Conrad’s understanding of Africa

Achebe asserts that Conrad’s depiction of Africa is grossly inadequate, shaped by a prejudiced mindset that fails to recognize African culture and contributions.

Quote: “Conrad’s picture of the peoples of the Congo seems grossly inadequate…” (Achebe, 25).

6. Racism normalized in Western literature

Achebe argues that Conrad’s racism is overlooked because racism against Africa is normalized in Western literature and criticism.

Quote: “White racism against Africa is such a normal way of thinking that its manifestations go completely unremarked” (Achebe, 22).

7. The psychological and cultural impact of racism

Achebe explores how the West’s stereotypical depiction of Africa, as seen in Heart of Darkness, is tied to deeper psychological needs of the West to reaffirm its superiority.

Quote: “The West seems to suffer deep anxieties about the precariousness of its civilization and to have a need for constant reassurance by comparison with Africa” (Achebe, 25).

Literary Terms/Concepts in “An Image of Africa: Racism in Conrad’s Heart of Darkness” by Chinua Achebe

Literary Term/Concept	Explanation	Example from Achebe’s Essay
Foil	A character or concept that contrasts with another to highlight particular qualities.	Achebe argues that Africa is set up as a foil to Europe, representing the antithesis of civilization. “Africa is set up as a foil to Europe… the antithesis of Europe and civilization.”
Dehumanization	Stripping away human qualities from individuals or groups, often used in discussions of racism and colonialism.	Achebe discusses how Africans are portrayed as less than human in Heart of Darkness. “Africa as setting and backdrop which eliminates the African as human factor…”
Racism	Prejudice, discrimination, or antagonism directed against individuals of a different race based on the belief that one’s own race is superior.	The entire essay revolves around Achebe’s argument that Conrad’s depiction of Africans in Heart of Darkness is deeply racist.
Irony	A situation or statement where the meaning is contradicted by the appearance or presentation of the idea.	Achebe suggests that while Conrad criticizes the brutality of colonialism, he himself reinforces racial stereotypes. “Conrad’s liberalism sidesteps the question of equality…”
Symbolism	The use of symbols to signify ideas and qualities by giving them symbolic meanings different from their literal sense.	Achebe discusses how Conrad uses Africa as a symbol of darkness and savagery. “Africa…a place of negations…triumphant bestiality.”
Narrative Insulation	A narrative technique where layers of narrators or perspectives are used to distance the author from the story or its characters.	Achebe notes how Conrad uses Marlow as a narrator, distancing himself from the story’s events. “Conrad uses a narrator behind a narrator…insulation between himself and the story.”
Colonialism	The policy or practice of acquiring full or partial political control over another country, occupying it with settlers, and exploiting it economically.	Achebe critiques the colonialist views implicit in Heart of Darkness. “Conrad’s image of Africa reflects the colonial desire to dehumanize and dominate.”
Stereotyping	Oversimplified and fixed ideas about a particular group of people.	Achebe argues that Conrad perpetuates harmful stereotypes of Africans as primitive and savage. “Conrad reduces Africans to rudimentary souls, incapable of speech or thought.”
Metaphor	A figure of speech that involves comparing two unlike things without using “like” or “as”.	Achebe points out Conrad’s metaphor of Africa as the “Heart of Darkness” representing savagery and chaos.
Liberalism	A political or moral philosophy based on liberty, consent of the governed, and equality before the law, though often critiqued for its failure to address deeper inequalities.	Achebe criticizes Conrad’s limited liberalism, which does not address the true equality of black and white people. “Conrad’s liberalism sidesteps the question of equality.”
Eurocentrism	A worldview centered on or biased towards Western civilization, often to the exclusion of non-Western cultures.	Achebe argues that Heart of Darkness embodies a Eurocentric view by using Africa as a backdrop for European concerns, ignoring African perspectives.
Psychological Projection	A defense mechanism where individuals attribute their own undesirable thoughts or feelings to others.	Achebe discusses how Conrad projects European fears and anxieties onto Africa. “The West seems to suffer deep anxieties…and has a need for reassurance by comparison with Africa.”
Dichotomy	A division or contrast between two things that are presented as opposites or entirely different.	Achebe critiques Conrad’s portrayal of Europe and Africa as opposites, where Europe represents civilization and Africa represents chaos and darkness.

Contribution of “An Image of Africa: Racism in Conrad’s Heart of Darkness” by Chinua Achebe to Literary Theory/Theories

Postcolonial Theory:

Focuses on the lasting impact of colonialism on formerly colonized countries and their cultures.

Examines how Western literature often perpetuates negative stereotypes about non-Western cultures.
Achebe’s Arguments:

Racism: Achebe argues that Conrad portrays Africans in a racist manner, denying them their humanity and reducing them to “savages” or props in the story.

Dehumanization: Conrad’s descriptions of Africans focus on physical attributes and animalistic behavior, stripping them of their individuality and agency.
The “Other”: Achebe argues that Conrad’s novella positions Africa as the “Other” – a dark and mysterious antithesis to Europe and civilization.
Power Dynamics: The portrayal of Europeans as “civilized” and Africans as “uncivilized” reinforces the power structures established during colonialism.

Blindness of Western Critics: Achebe criticizes Western scholars for overlooking Conrad’s racism and celebrating the book as a literary masterpiece. Evidence from the Text:

Achebe quotes passages where Conrad uses derogatory language (“frenzy,” “unciouth sounds”) and dehumanizing descriptions (“black shadows”) to portray Africans.
He contrasts Conrad’s positive portrayal of the “fine fellows” who are cannibals with his negative portrayal of the African woman who is not a threat.

He highlights the hypocrisy of Marlow, the narrator, who expresses concern for the suffering Africans while holding racist views.
Impact:

Achebe’s critique challenged the traditional reading of Heart of Darkness and forced a reevaluation of Conrad’s work in the context of colonialism.

It highlights the importance of considering the perspective of the formerly colonized when analyzing literature.
Additional Notes:

Achebe acknowledges Conrad’s literary talent but argues that the racism undermines the work’s value.

He references the historical context of colonialism and the brutality of King Leopold’s rule in the Congo.
He challenges the notion that Conrad’s racism can be excused as a product of his time.

Examples of Critiques Through “An Image of Africa: Racism in Conrad’s Heart of Darkness” by Chinua Achebe

Literary Work	Critique Inspired by Achebe	Example from “An Image of Africa”
Joseph Conrad’s Heart of Darkness	Racial stereotyping and dehumanization of Africans	“They were not enemies, they were not criminals, they were nothing earthly now—nothing but black shadows of disease and starvation, lying confusedly in the greenish gloom.”
Rudyard Kipling’s The Jungle Book	Orientalism and the exotic portrayal of Eastern cultures	Achebe might argue that Kipling’s representation of India and its people is overly romanticized and reinforces Western stereotypes of Eastern cultures.
Charlotte Brontë’s Jane Eyre	Colonialism and the objectification of non-white characters	The character of Rochester’s wife, Bertha Mason, could be seen as a stereotypical portrayal of a “mad” and “savage” woman from the Caribbean.
Mark Twain’s Adventures of Huckleberry Finn	Racial slurs and the perpetuation of harmful stereotypes	Twain’s use of the n-word and his portrayal of Jim, a runaway slave, could be critiqued for reinforcing racist stereotypes and promoting harmful attitudes.

Criticism Against “An Image of Africa: Racism in Conrad’s Heart of Darkness” by Chinua Achebe

1. Reduction of Conrad’s Artistic Vision

Criticism: Some critics argue that Achebe oversimplifies Joseph Conrad’s literary work, reducing Heart of Darkness to a purely racist text, ignoring its deeper thematic elements, such as the critique of colonialism and human nature.
Example: Critics like Edward Said have pointed out that Heart of Darkness contains an implicit critique of European imperialism and should be appreciated for its complex portrayal of colonialism.
Counterpoint: Achebe acknowledges Conrad’s literary talents but maintains that these do not excuse the dehumanization of Africans. Quote: “I do not doubt Conrad’s great talents. Even Heart of Darkness has its memorably good passages and moments” (Achebe, 22).

2. Context of Conrad’s Time

Criticism: Some argue that Conrad was a product of his time, and his views on race should be understood in the context of 19th-century European imperialism and its inherent racial prejudices.
Example: Critics argue that judging Conrad by contemporary standards of racial equality may be anachronistic and overlooks the historical context in which Heart of Darkness was written.

Counterpoint: Achebe contends that regardless of historical context, Conrad’s depiction of Africans perpetuates harmful racial stereotypes. Quote: “Even after due allowances have been made for all the influences of contemporary prejudice on his sensibility, there remains still in Conrad’s attitude a residue of antipathy to black people” (Achebe, 23).

3. Separation of Narrator and Author

Criticism: It is often argued that the views expressed by the character Marlow in Heart of Darkness do not necessarily reflect Conrad’s personal views. Marlow serves as a fictional narrator, and his perspective is not synonymous with the author’s.

Example: Many critics suggest that Marlow’s ambivalence towards Africa reflects a narrative technique and that Conrad uses layers of narration to distance himself from the racist attitudes presented in the story.
Counterpoint: Achebe dismisses this argument, claiming that Conrad fails to provide an alternative perspective to counter Marlow’s racist views. Quote: “If Conrad’s intention is to draw a cordon sanitaire between himself and the moral and psychological malaise of his narrator, his care seems to me totally wasted” (Achebe, 20).

4. Ignoring Conrad’s Critique of Colonialism

Criticism: Achebe has been criticized for focusing too heavily on the racial elements of Heart of Darkness, while overlooking the novel’s critique of European colonialism and exploitation of the Congo.
Example: Critics like Caryl Phillips suggest that Heart of Darkness is, at its core, a scathing critique of European imperialism and that the novel condemns the brutalities of colonialism more than it promotes racism.
Counterpoint: Achebe acknowledges that the novel critiques colonialism but argues that it simultaneously dehumanizes Africans and uses Africa as a mere backdrop for the psychological struggles of European characters. Quote: “Africa as setting and backdrop which eliminates the African as human factor… a metaphysical battlefield devoid of all recognizable humanity” (Achebe, 21).

5. Artistic Freedom and Fiction

Criticism: Some believe that Achebe’s critique threatens artistic freedom by imposing moral standards on literature. They argue that fiction should not be constrained by ethical or political correctness and that Conrad’s narrative choices were artistic rather than ideological.
Example: Writers like Salman Rushdie have suggested that literature should be allowed to explore difficult themes, even if they are controversial or uncomfortable, and Achebe’s critique risks limiting artistic expression.

Counterpoint: Achebe argues that art cannot be separated from morality, especially when it involves the dehumanization of an entire race. Quote: “Can a novel which celebrates this dehumanization, which depersonalizes a portion of the human race, be called a great work of art? My answer is: No, it cannot” (Achebe, 21).

Representative Quotations from “An Image of Africa: Racism in Conrad’s Heart of Darkness” by Chinua Achebe with Explanation

Quotation	Explanation
1. “Africa is set up as a foil to Europe, as a place of negations at once remote and vaguely familiar…”	Achebe argues that Conrad portrays Africa as the opposite of Europe, a land of darkness and chaos that serves to highlight Europe’s supposed civilization and moral superiority.
2. “Africa as setting and backdrop which eliminates the African as human factor…”	Achebe critiques Heart of Darkness for using Africa as a mere backdrop for European stories, reducing Africans to mere props without agency or humanity.
3. “The real question is the dehumanization of Africa and Africans which this age-long attitude has fostered…”	Achebe points to the long-standing tradition of dehumanizing Africa in Western literature and argues that Conrad’s novel is part of this harmful legacy.
4. “The West seems to suffer deep anxieties about the precariousness of its civilization and to have a need for constant reassurance by comparison with Africa.”	Achebe suggests that the West’s need to compare itself with Africa reflects deeper psychological insecurities, using Africa as a symbol of what Europe fears becoming.
5. “Can a novel which celebrates this dehumanization, which depersonalizes a portion of the human race, be called a great work of art?”	Achebe questions whether a novel that perpetuates racism and dehumanization, like Heart of Darkness, can truly be considered a masterpiece of literature.
6. “His inordinate love of that word itself [nigger] should be of interest to psychoanalysts.”	Achebe criticizes Conrad’s frequent and casual use of racial slurs, arguing that it reflects a deeper psychological fixation on racial difference and hostility toward Black people.
7. “It is clearly not part of Conrad’s purpose to confer language on the ‘rudimentary souls’ of Africa.”	Achebe points out that Conrad denies Africans a voice or the ability to communicate in the novel, reinforcing their status as “other” and less-than-human.
8. “Conrad chose the role of purveyor of comforting myths.”	Achebe accuses Conrad of reinforcing popular racist stereotypes about Africa and Africans, thus providing his audience with myths that justify imperialism and exploitation.
9. “The question is whether a novel which celebrates this dehumanization can be called a great work of art.”	Achebe emphasizes his main argument: that the dehumanization of Africans in Heart of Darkness cannot be excused by the novel’s artistic qualities.
10. “Travellers with closed minds can tell us little except about themselves.”	Achebe argues that Conrad’s portrayal of Africa reveals more about his own prejudices and those of the Western world than about the actual people and cultures of Africa.

“Africa Is People” by Chinua Achebe: Summary and Critique

“Africa Is People” by Chinua Achebe appeared in 1962 in journal Transition, marking a contribution in African literature and literary theory

Introduction: “Africa Is People” by Chinua Achebe

“Africa Is People” by Chinua Achebe first appeared in 1962 in the journal Transition, markinga pivotal moment in African literature and literary theory. Achebe, a leading figure in the African literary renaissance, challenged the Western perception of Africa as a monolithic, undifferentiated entity. Instead, he emphasized the continent’s rich diversity of cultures, histories, and experiences. The essay’s significance lies in its ability to decolonize African narratives and to give voice to the continent’s people, asserting their agency and complexity.

Summary of “Africa Is People” by Chinua Achebe

Economic Development and Structural Adjustment Programs: Achebe critiques the structural adjustment programs implemented by Western economists in African countries. He highlights the disconnect between theory and reality, stating, “Africa is not fiction. Africa is people, real people” (Achebe, 1999, p. 314). He uses Nigeria as an example where economic measures reduced the minimum wage drastically, worsening living conditions rather than improving them.
Perception of Africa by the West: Achebe argues that Western perspectives often dehumanize Africans, reducing them to abstract problems rather than individuals with human dignity. This dehumanization is rooted in the imperialist mindset, which was perpetuated by influential figures like Albert Schweitzer and Joseph Conrad. Achebe highlights Conrad’s derogatory depiction of Africans as part of a larger “mythology of imperialism” (p. 316).

The Legacy of Colonialism and Foreign Influence: Achebe points to historical foreign interventions, particularly in countries like Congo, where leaders like Mobutu were installed by foreign powers to serve their interests. These interventions left devastating legacies of corruption and poverty. He references President Clinton’s apology for American Cold War policies in Africa, underscoring the destructive consequences of such external manipulations (p. 318).
Call for Better Understanding and Solutions: Achebe stresses the importance of considering Africa’s humanity in global policy. He appeals to institutions like the World Bank to recognize that “Africa Is People” and to reform policies accordingly. His call is not for sympathy but for an acknowledgment of Africans’ rights to fair treatment and sustainable development (p. 321).
Critique of Global Economic Systems: Achebe critiques the global banking system, which, by enabling the looting of African wealth by corrupt leaders, compounds Africa’s economic problems. He argues for stricter regulations on foreign banks that hold stolen assets, emphasizing the need for global cooperation to recover these funds and support African development (p. 320).

Literary Terms/Concepts in “Africa Is People” by Chinua Achebe

Literary Term/Concept	Explanation	Example/Usage in “Africa Is People”
Irony	The use of words to convey a meaning that is opposite of its literal meaning, often to highlight contradictions.	Achebe notes the irony of Western nations that benefitted from post-war reconstruction (e.g., Japan and Germany) being reluctant to forgive the debts of poor African nations.
Symbolism	The use of symbols to represent ideas or qualities.	Africa as “people” symbolizes the humanity of the continent, contrasting the Western view that sees Africa as merely a resource or economic problem.
Critique of Imperialism	A direct critique of the ideologies and practices of imperialist powers, often highlighting their dehumanizing impact on colonized peoples.	Achebe criticizes the “mythology of imperialism” that underpins Western views of Africa, referencing figures like Conrad and Schweitzer who perpetuated colonial myths.
Satire	The use of humor, irony, or ridicule to expose and criticize people’s stupidity or vices, particularly in the context of contemporary politics.	Achebe satirically describes the OECD meeting as a “fiction workshop” where experts treat African economies like “guinea pigs” (p. 314).
Pathos	An appeal to emotion, often used to evoke sympathy or pity in the audience.	Achebe evokes sympathy for the African people suffering under structural adjustment programs, describing the drastic reduction of wages and its human toll.
Allusion	An indirect or passing reference to another work of literature, person, or event.	Achebe alludes to Joseph Conrad’s racist description of a black man in Heart of Darkness to critique imperialist attitudes toward Africa (p. 316).
Ethos	An appeal to ethics, authority, or credibility to convince the audience.	Achebe draws on his personal experiences and knowledge of African economies to establish credibility, especially when addressing policies like structural adjustment.
Imagery	Descriptive language that appeals to the senses and paints a vivid picture in the reader’s mind.	Achebe’s depiction of Western economists treating African countries as “laboratory guinea pigs” creates a vivid image of their cold, detached approach to African problems (p. 314).
Juxtaposition	The placing of two contrasting ideas side by side for effect.	Achebe juxtaposes the wealth and success of Western nations with the poverty and suffering in African countries caused by the very policies the West advocates.
Rhetorical Question	A question posed for rhetorical effect rather than to receive an answer, often used to emphasize a point.	Achebe asks, “Would you recommend a similar remedy to your own government?” (p. 314) to challenge Western experts on the fairness of their policies for Africa.

Contribution of “Africa Is People” by Chinua Achebe to Literary Theory/Theories

Postcolonial Theory:
- Achebe’s essay contributes significantly to postcolonial theory by challenging Western representations of Africa as a place of poverty and dysfunction. He critiques the imperialist narrative and argues that Africa should be viewed as a continent made up of “people, real people,” not abstractions or experimental subjects (Achebe, 1999, p. 314).
- He also exposes the dehumanizing effects of colonialism, using examples like Joseph Conrad’s depiction of Africans in Heart of Darkness and Albert Schweitzer’s view of Africans as “junior brothers” (p. 316). Achebe’s work aligns with postcolonial critiques of how imperialist ideologies continue to shape global perceptions and policies toward Africa.

Cultural Criticism:
- Achebe’s lecture engages in cultural criticism by highlighting the role of Western culture in perpetuating harmful stereotypes about Africa. He points out how these stereotypes have been deeply ingrained through literature, media, and policy, referencing figures like Conrad and the Western economic elites at the OECD meeting (p. 314).
- By emphasizing the human experience in Africa, Achebe critiques the cultural assumptions that underlie Western economic theories and interventions, encouraging a re-evaluation of Africa’s cultural and social realities beyond Eurocentric frameworks.

Humanism:
- Achebe’s argument that “Africa is people” is rooted in humanism, which prioritizes the dignity and value of individuals over abstract economic or political goals. He critiques the structural adjustment programs imposed on African nations for disregarding the human cost, stating that these policies treat Africans as “guinea pigs” rather than as human beings with rights and needs (p. 314).
- His focus on the ethical treatment of African people contributes to humanist literary criticism by underscoring the importance of recognizing the humanity of marginalized populations in both literature and policy.

Marxist Theory:
- Achebe’s essay reflects aspects of Marxist literary criticism by analyzing the economic exploitation of Africa by Western powers. He critiques the global capitalist system, which he sees as perpetuating Africa’s poverty while benefiting the wealthier nations. Achebe highlights the inequalities created by this system, where “structural adjustment” programs enrich the West at the expense of the poor in Africa (p. 318).
- He also critiques the concentration of wealth and power in the hands of corrupt African leaders who collude with global elites, drawing attention to class-based exploitation and the need for economic justice.

Narrative Theory:
- Achebe’s essay can be seen as a challenge to traditional Western narrative structures, particularly in how Africa has been portrayed in literary and scholarly works. By presenting Africa as a complex, human society rather than a “fictional” construct of Western economic theories, Achebe reclaims African narratives from colonial and neocolonial misrepresentations (p. 314).
- His use of personal storytelling within a formal lecture context also serves as a narrative device that humanizes African experiences, creating an alternative narrative to the dominant Western discourse on African poverty and development.

Moral Philosophy in Literature:
- Achebe’s work contributes to discussions of moral philosophy in literature by advocating for an ethical approach to policymaking and economic intervention. His criticism of structural adjustment programs is rooted in a moral argument—that it is unjust to subject African populations to severe economic hardship under the guise of free-market ideology (p. 314).
- Achebe’s emphasis on the humanity of Africans ties into moral philosophy by calling for recognition of the ethical implications of policies and literature that dehumanize or marginalize entire populations.

Postmodernism:
- Achebe’s essay contributes to postmodern literary theory by deconstructing the metanarratives surrounding Africa, particularly the myth of African “backwardness” propagated by imperialism. He exposes the limitations and biases in Western economic and political narratives that position Africa as perpetually in need of external rescue (p. 317).
- His questioning of Western authority figures and their economic “solutions” reflects a postmodern skepticism of grand, universalizing theories, particularly those that ignore the lived realities of marginalized groups.

Ethical Criticism:
- Achebe’s focus on the ethical responsibility of Western powers toward Africa aligns with ethical criticism in literature. He questions the moral implications of the structural adjustment policies and the Western economic dominance that continues to marginalize African people. His challenge—”Would you recommend a similar remedy to your own government?”—forces readers and policymakers to consider the ethics of applying these policies to African countries (p. 314).
- This aligns with ethical criticism’s focus on the impact of literature and policy on human life and moral responsibility.

Examples of Critiques Through “Africa Is People” by Chinua Achebe

Literary Work and Author	Critique Through “Africa Is People”	References from Achebe’s Essay
Heart of Darkness by Joseph Conrad	Achebe criticizes Conrad’s dehumanizing portrayal of Africans as savage, irrational beings. Conrad’s infamous description of a black man as a “buck nigger” fixates on violence and reinforces the imperialist myth of African inferiority.	Achebe points out Conrad’s fixation on Africans as embodiments of “unreasoning rage” (p. 316), noting this as part of the “mythology of imperialism.”
Doctor Schweitzer of Lambaréné by Albert Schweitzer	Achebe critiques Schweitzer’s paternalistic view of Africans, calling out his infamous statement that “The African is indeed my brother, but my junior brother.” Schweitzer’s attitude reflects the colonial mindset that justified Western dominance.	Achebe exposes Schweitzer’s statement as a “blasphemy” that went unchallenged due to imperialist admiration (p. 315).
Pröster John by John Buchan	Achebe references this colonialist novel to highlight the persistent imperial myth that black people are incapable of responsibility. Buchan’s work reflects the racial stereotypes that helped justify colonial domination.	Achebe critiques Buchan’s assertion that “white and black” differ in the “gift of responsibility,” a statement rooted in imperial arrogance (p. 321).
Lord Jim by Joseph Conrad	Achebe’s criticism extends to Conrad’s broader body of work, which often portrays non-Europeans as lesser or inferior beings. Lord Jim, like Heart of Darkness, reinforces colonial hierarchies by depicting non-white characters as background figures, lacking agency.	Achebe’s critique of the “mythology of imperialism” applies to Conrad’s entire oeuvre, noting how his works perpetuate colonial stereotypes (p. 316).

Criticism Against “Africa Is People” by Chinua Achebe

Over-Simplification of Complex Economic Issues: Critics argue that Achebe simplifies the economic challenges facing Africa by framing the debate primarily in human terms, without offering a nuanced analysis of economic policies like structural adjustment programs. While his emphasis on human impact is important, some critics believe that a more detailed economic discussion could provide a more balanced perspective.
Lack of Concrete Solutions: Achebe effectively critiques Western policies and interventions in Africa, but some critics highlight that he does not offer specific, actionable solutions to the problems he identifies. His appeal for human-centered approaches is compelling, yet critics note that it lacks clear guidelines on how such approaches can be practically implemented in complex geopolitical and economic contexts.
Overemphasis on Western Responsibility: Some critics claim that Achebe places too much blame on Western nations for Africa’s problems, while underplaying the role of African governments and internal factors like corruption, mismanagement, and ethnic conflicts. This critique suggests that Achebe’s essay, while important in highlighting Western exploitation, might not fully address Africa’s internal challenges.

Idealization of African Humanism: Achebe’s promotion of African humanism, particularly the idea of communal cooperation (umuntu ngumuntu ngabantu), is seen by some critics as overly idealized. They argue that this idealization may ignore the complexities and challenges within African societies, such as tribalism, political instability, and social inequality, which undermine the communal ideals Achebe champions.
Generalization of Africa’s Diversity: Achebe speaks of “Africa” as a singular entity, which can be seen as a broad generalization. Critics argue that Africa is a vast and diverse continent with multiple cultures, economies, and histories, and that Achebe’s critique might oversimplify this diversity by treating African nations as uniformly affected by Western policies.

Representative Quotations from “Africa Is People” by Chinua Achebe with Explanation

Quotation	Explanation
“Africa is not fiction. Africa is people, real people.”	Achebe emphasizes the humanity of Africans, contrasting the West’s tendency to reduce Africa to abstract economic problems or fictional narratives.
“You are developing new drugs and feeding them to a bunch of laboratory guinea pigs.”	Achebe critiques the way Western economists treat African nations as experimental subjects for economic theories, detached from the human cost.
“The African is indeed my brother, but my junior brother.”	Achebe highlights this paternalistic quote by Albert Schweitzer to expose the imperialist mindset that continues to influence Western views of Africa.
“Would you recommend a similar remedy to your own government?”	Achebe challenges Western policymakers by asking if they would subject their own populations to the harsh economic measures they prescribe for Africa.
“Structural adjustment… reduced Nigeria’s minimum wage from 15 pounds to 5 pounds.”	This quotation underscores the devastating real-world impact of structural adjustment programs on African economies and livelihoods.
“Imperial domination required a new language to describe the world it had created.”	Achebe critiques the language of imperialism, arguing that it was used to dehumanize colonized people and justify domination.
“Mobutu’s legacy was truly horrendous.”	Achebe points to the destructive impact of corrupt African leaders, often supported by foreign powers, in destabilizing their nations.
“Africa is people… in cooperation with people.”	Achebe invokes the African philosophy of communalism, suggesting that Africa’s strength lies in cooperation and shared humanity.
“You will be staggered to know… 37 percent of African private wealth is held outside Africa.”	Achebe reveals the extent of economic exploitation, where African wealth is siphoned off and stored in foreign banks, further impoverishing the continent.
“Let us perform the sacrifice and leave the blame on the doorstep of the spirits.”	Achebe uses an Igbo proverb to suggest that Africa must take action to solve its problems, even if external forces continue to resist change.

Day: September 11, 2024