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Chinua AchebeA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Achebe’s novel begins with his central character, Okonkwo, who is “well known throughout the nine villages” (3). About 20 years ago, he won a fight against an undefeated wrestler, Amalinze, which established his honor. “Tall and huge” (3), and “severe” in his face, Okonkwo has “no patience with unsuccessful men,” especially his father, Unoka (4).
Unoka, as Okonkwo sees him, “was lazy and improvident and was quite incapable of thinking about tomorrow” (5). Though Unoka had been tall like his son, before he passed away 10 years earlier, he was “very thin and had a slight stoop” (5). Okonkwo remembers his father playing the flute, drinking palm-wine, and celebrating the harvest with others in the village. Everyone saw him as “a loafer,” and “his wife and children had barely enough to eat” (6). He was constantly in debt to others.
Okoye, a musician friend of Unoka’s, once visited to ask that Unoka return a debt of 200 cowries. After Unoka broke a kola nut and prayed to his ancestors for protection, and after he played his flute to distract from talk of war, and after Okoye pronounced a series of proverbs, Okoye made his request. Unoka responded with laughter, which left his visitor “speechless.” Unoka finally explained himself by pointing to a wall on which he had tallied his debts, telling Okoye that he must “pay [his] big debts first” (8).
Thankfully for Okonkwo, though his father died without title or money, “among these people a man was judged according to his worth and not according to the worth of his father” (8). Even when young, Okonkwo was famous, “a wealthy farmer,” and fought boldly in intertribal wars: “He was already one of the greatest men of his time” (8). In the village, the elders say that “if a child washed his hands he could eat with kings”; Okonkwo metaphorically “washed his hands” (8). This is how he ends up caring for Ikemefuna, “the doomed lad” sacrificed to their village “to avoid war and bloodshed” (8).
Ikemefuna arrives in the village of Umuofia in the first part of Chapter 2. One quiet night, a town crier’s ogene drum signals to the men of the village to gather in the town the next morning. As he hears the signal fade, Okonkwo wonders what the emergency could be. Because he is “a man of action,” he understands that he may be called upon to fight when the morning comes (10).
In the morning, about 10,000 men gather to listen to Ogbuefi Ezeugo, who explains that “the sons of wild animals have dared to murder a daughter of Umuofia” (11). Ogbuefi Udo’s wife was killed when traveling to Mbaino.
Okonkwo is selected as Umuofia’s village representative. Everyone is afraid of Umuofia because of its shrine, where a magic Oracle resides, so Okonkwo knows that the village of Mbaino “would not go to war against [Umuofia] without first trying a peace settlement” (12). They agree to send a young man, Ikemefuna, whom the elders place in Okonkwo’s household, and a young virgin woman who “replaces” Ogbuefi Udo’s wife (12).
Ikemefuna enters a house that Okonkwo rules with a “fiery temper” (13). Because of his hatred for “gentleness” and “idleness,” his father’s dominant characteristics, Okonkwo drives his children to work hard with him in the fields, and he accumulates considerable wealth as a result (13). When Ikemefuna arrives, Okonkwo forces his senior wife, the mother of his eldest son, Nwoye, to welcome the frightened boy to their home.
At the end of the chapter, the narrator reveals that neither Ikemefuna nor Okonkwo knows that Ikemefuna’s father had participated in killing Ogbuefi Udo’s wife.
Chapter 3 tells of Unoka’s visit to Agbala, the Umuofia Oracle, and the priestess at its shrine, Chika. Against the sacred fire, the priestess cuts an ominous figure. After Unoka begins to explain his work in the fields, Chika interrupts him with a terrible scream.
Chika explains that everyone knows how little he works and challenges him to “go home and work like a man” (18). But the narrator recognizes that “Unoka was an ill-fated man,” as proven by the swelling illness that killed him; a man “afflicted with swelling in the stomach and the limbs” could not die in the house to “be buried in [the earth’s] bowels” (18). Despite and because of this curse, Okonkwo devotes himself to avoiding “his father’s contemptible life and shameful death” (18).
As a young man, Okonkwo establishes his own farm. He appeals to Nwakibie, a respected and wealthy man in the village, to give him yam seeds so he can cultivate his farm. Nwakibie is generous with him, though he usually refuses young men; he says that he “can trust” Okonkwo because “you can tell a ripe corn by its look” (22). Okonkwo chooses to grow yams because they are “a man’s crop” (23), and though he must sharecrop, a process by which he will retain only one-third of the harvest, “there [is] no other way” for “a young man whose father [has] no yams” (22).
Okonkwo plants his yams early, as a responsible farmer would, but the village suffers an enormous drought that damages his plants. The farmers who waited to plant are “the wise ones” that year, and their yams survive (23). When Okonkwo plants his remaining yams, a flood comes, and the second crop also fails. His father encourages him, reminding him that he has “a manly and a proud heart” (23), and though Unoka’s “love of talk […] [tries] Okonkwo’s patience beyond words,” he remembers this encouragement and his persistence through the first year of farming in his later years (25).
The first chapters of Things Fall Apart establish the commingling tales of Okonkwo, his father Unoka, and his charge, Ikemefuna, highlighting The Bond Between Fathers and Sons. A sense of nature and hierarchy orders the Ibo village known as Umuofia: men rise and fall in the ranks based on their strength, their manly authority, and their farming prowess. Ancestor worship and appeals to the village’s Oracle, Agbala, orient men’s efforts to gain authority. Okonkwo’s labors are a reaction to his father’s laziness and his poor luck with ancestral and divine authorities; he fears a curse like his father’s.
Defining Manhood Through Violence orients Okonkwo’s work. Though he is respected, he is also deeply feared, especially in his household, which he rules “with a heavy hand”; authority and capacity for violence are both masculine characteristics that he hopes to portray (13). Okonkwo plants yams because they are “a man’s crop” (23). He remembers, into adulthood, the fact that a playmate refers to his father as agbala, which is both a name “for a woman” and “a man who had taken no title” (13). Fathers shape sons in this story; in Okonkwo’s case, his father’s failures teach him what he must do to prove his manhood.
Achebe peppers his narrative with Ibo proverbs, which “are the palm-oil with which words are eaten” (7). The ritual breaking of the kola nut and sharing of palm wine punctuate each interaction in the text, especially those between men. Tradition determines personal worth in Ibo society. For example, when Nwakibie lends Okonkwo his yam seeds, he calls upon the tradition of “our fathers” to explain that “you can tell a ripe corn by its look”—tradition states that a young man who looks honest and hardworking will be so (22). Telling a story can legitimize action. But using the stories of the past in the present also suggests that the past remains relevant, a fact that inspires Okonkwo’s unrelenting fear that his father’s failures will reappear in his own life.
By Chinua Achebe