"Would you like a white woman Wongee?" Jimmie asked. "Don't seem ter make their cow-cockies happy, having white woman for 'is wife. Why else he come after black girls? Must be sum'pin to white women we ain't been told" (p. 11). The implication drawn from Wongee is that aboriginal females are sexier than white women, but Jimmie is sexually attracted to the white woman.
On page 12 Wongee describes an aboriginal woman who "Yawns for men and not with her mouth. She weeps for men and not with her eyes. She drinks men down, she is cave for men," he said, laughing. In Caledonian that Saturday night Jimmie "suddenly" was "pouring himself without joy into one of the women" while laying in the long grass so police wouldn't see them. The next time readers confront an image of an aboriginal females (p. 20) Jimmie "lay down with a scrawny gin called Florence but found that the preliminaries of copulation sent her into a whooping spasm." This aboriginal camp, called Verona, also was a place where white men came and had sex with aboriginal women. "White voices could be heard as burlap door-flaps were flung open" (this has the tone of a whore house). "Shrieking welcomes were sung to the white phallus, powerful demolisher of tribes." The narrator here seems to be suggesting that by inter-breeding with aboriginal woman the white male was turning a culture into half-breeds.
Jimmie showed zero amount of respect for the aboriginal woman: "Wot's yer animal-spirit, the, yer black bitch? I bin killin' a lot of animals lately. What animal's got yer soul, the?" (p. 25). It could be inferred here that Jimmie was afraid of the women in his own culture perhaps because his own half-black conscience was guilty or insecure? "When he does sleep with a black woman it is presented as a kind of cultural rape, of her by him," writes critic Allan James Thomas (Senses of Cinema). Anne Hickling-Hudson writes, "The tragedy of Jimmie...
Therefore, Okonkwo rejected his father, and hence, the womanly element of himself. He turned out to be a leading wrestler and warrior in his people to make available the facilities of life for his family at a very small age. Simultaneously, he established a new farm and began to collect his own riches, and ultimately a name. His uphill struggle confirms itself in his victory, and he rapidly became
" Okonkwo inflexible traditionalism pitted him against his gentle son Nwoye, who joined the Christian European missionaries. In the book, Oknokwo had to participate in a ceremonial human sacrifice and endure a seven-year exile after his gun accidentally killed the son of the deceased warrior Ezeudu. He also lost part of himself when he lost Ikemefuna. Upon returning to the village, he found it torn apart by Western Imperialism. Finally, he
Achebe puts it this way, "Okonkwo encouraged the boys to sit with him in his obi, and he told them stories of the land -- masculine stories of violence and bloodshed" (Achebe 52). Okonkwo represents all men in society who are so obsessed with their own manliness that they can never allow themselves any emotion, caring, or concern. Sadly, these archaic attitudes are still not uncommon in today's society,
Things Fall Apart is not necessarily a novel about globalization, but the implications of a changing world -- and that includes issues related to globalization along with the fading of colonialism -- are an important part of this novel. On the surface this novel is the telling of a nationalistic-themed tale about the tragic circumstances surrounding the initial respect that Okonkwo had from the Igbo culture, along with his demise,
Colonialism and Imperialism in Heart of Darkness, Things Fall Apart, And Apocalypse Now The shadow of colonization: Projecting European anxieties onto nonwhite peoples The Jungian concept of 'the shadow' is not that 'the shadow' is inherently dark or evil: rather, it is a hidden part of an individual or collective subconscious that is a repository of all of the aspects of society wishes to hide. The shadow' may contain elements of forbidden
Euro v Afro Centric Perspectives The unfolding of events can be told from a variety of perspectives that are highly influenced by an individual's background and personal prejudices. Heart of Darkness by Joseph Conrad and Things Fall Apart by Chinua Achebe provide two distinct and polar perspectives. Heart of Darkness, and consequently the film adaptation Apocalypse Now, directed by Francis Ford Coppola, provides an Anglo-centric perspective on colonialism and imperialism, whereas
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