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

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

1. 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).
2. 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).
3. 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).
4. 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).
5. 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).
6. 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).
7. 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.

Suggested Readings: “English and the African Writer” by Chinua Achebe

1. Achebe, Chinua. Hopes and Impediments: Selected Essays, 1965-1987. Heinemann, 1988. https://www.amazon.com/Hopes-Impediments-Selected-Essays-1965-1987/dp/038541479X
2. Ngũgĩ wa Thiong’o. Decolonising the Mind: The Politics of Language in African Literature. Heinemann, 1986. https://www.amazon.com/Decolonising-Mind-Politics-Language-Literature/dp/0852555016
3. Ashcroft, Bill, Gareth Griffiths, and Helen Tiffin. The Empire Writes Back: Theory and Practice in Post-Colonial Literatures. Routledge, 2002. https://www.routledge.com/The-Empire-Writes-Back-Theory-and-Practice-in-Post-Colonial-Literatures/Ashcroft-Griffiths-Tiffin/p/book/9780415280204
4. Innes, C. L. “Language and African Literature.” The Cambridge History of African and Caribbean Literature, edited by F. Abiola Irele and Simon Gikandi, Cambridge University Press, 2004, pp. 17-36. https://doi.org/10.1017/CHOL9780521590399.002
5. Wali, Obi. “The Dead End of African Literature?” Transition, no. 10, 1963, pp. 13-15.
6. Griffiths, Gareth. “The Myth of Authenticity: Representation, Discourse and Social Practice.” Post-Colonial Literatures: Expanding the Canon, edited by Deborah L. Madsen, Pluto Press, 1999, pp. 70-87. https://www.jstor.org/stable/j.ctt18fs3c3.9
7. Killam, G. D. The Writings of Chinua Achebe. Heinemann Educational, 1977.
8. Irele, Abiola. The African Imagination: Literature in Africa and the Black Diaspora. Oxford University Press, 2001. https://global.oup.com/academic/product/the-african-imagination-9780195086195
9. Gikandi, Simon. Reading Chinua Achebe: Language and Ideology in Fiction. James Currey, 1991. https://www.amazon.com/Reading-Chinua-Achebe-Language-Ideology/dp/0435080776

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.