ISSN 2319-5339 (P), 2583-7591 (O) IIS Univ.J.A. Vol.

12 (3&4), 120-132 (2023)

Portrayal of Tribal Identity Crisis in Chinua

Achebe’s Things Fall Apart

Pradeep Kumar Chaswal & Deepak Chaswal

Abstract

Things Fall Apart is a novel by the Nigerian author Chinua Achebe, first
published in 1958. It is widely considered a classic of African literature
and is one of the most widely read and studied African novels. The novel
is set in the late 19th century in the Igbo community of Nigeria and fol-
lows the life of the main character, Okonkwo, as he navigates the cultural
changes brought about by the arrival of European colonizers. The novel
explores themes of cultural identity, colonialism, and the effects of change
on traditional societies. It is written in English and is widely regarded
as a seminal work in post-colonial African literature. This research paper
explores the theme of tribal identity crisis through the evaluation of the
prominent characters in the novel, i.e. Okonkwo, Unoka, Nwoye, and Ike-
mefuna.

Keywords: Colonialism; Cultural; Identity; Igbo; Tribal.

Introduction

Chinua Achebe is a renowned Nigerian novelist, poet, and critic who is

best known for his first novel, Things Fall Apart, which was published in
1958. This novel, which tells the story of an Igbo tribe in Nigeria during
the late 19th century and the arrival of European colonizers, is considered
a classic of African literature and has been translated into more than 50
languages. Achebe grew up in the Igbo culture after being born in Ni-
geria in 1930. He studied at the University of Ibadan, where he became
interested in literature and began to write. After graduating, he worked
as a teacher and a radio producer before publishing Things Fall Apart. The
novel was a huge success and established Achebe as a major voice in Af-
rican literature. Achebe’s work is characterized by its ability to convey
the complexities of the African experience and the impact of European
120
 Chaswal & Chaswal 2023

colonialism on the continent. He is known for his use of traditional Af-

rican storytelling techniques, such as the use of proverbs and folktales,
to convey deeper truths about the human condition. It is true that Things
Fall Apart exhibits regenerative literary power. This relates to synthesising
multifarious quality of Achebe’s erudite fiction, which eludes imperial-
istic ratification through its minimal interpretive approximation” (Jweid
530). In this book, pre-colonization Africa is portrayed as a society that
still had a connection to nature and worked to protect it from conquerors.
Achebe has consistently worked to draw his people’s attention to these
problems in an effort to preserve the original African culture.

In addition to Things Fall Apart, Achebe wrote several other novels, in-
cluding No Longer at Ease, Arrow of God, and Anthills of the Savannah. He
also wrote poetry and essays on literature, politics, and culture. His work
has been widely anthologized and studied in schools and universities
around the world. Achebe was also politically active and was an advocate
for the rights of the Igbo people and for an independent and democratic
Nigeria. He was a vocal critic of the Nigerian government and its treat-
ment of ethnic minorities. In Things Fall Apart, Chinua Achebe portrays
the Igbos’ traditional heritage to instil self-confidence, while also pointing
out universal truths that taint their propensity for violence. He sets out to
demonstrate that, prior to the arrival of European colonial powers in Afri-
ca, the Igbos had a philosophy of great depth, value, and beauty, that they
had poetry, and, most importantly, that they had dignity. He sees it as his
duty as a writer in a new country to restore the dignity that his people
lost during the colonial period. Here it appears that Achebe intends to test
“Igbo culture against the goals of modern liberal democracy” and tries to
“show how the Igbo meets those standards” (Rhoads 61).

Concept of Identity: An Introduction

Identity, in philosophy, refers to the set of characteristics that make some-

thing the same as itself over time. This can include both physical and psy-
chological attributes. The concept of identity is central to many branches
of philosophy, including metaphysics, epistemology, and ethics. There are
many theories of identity, including personal identity, which deals with
the question of what makes a person the same entity over time, and social
identity, which deals with the question of how we identify ourselves and
others as members of a group.

121
IIS Univ.J.A. Vol.12 (3&4), 120-132 (2023)
Critical Theories about Identity

Critical theories about identity are a broad range of perspectives that chal-
lenge traditional notions of identity as fixed and essential. These theories
argue that identity is fluid, multiple, and constantly evolving. They also
emphasize the importance of social and historical context in shaping iden-
tity.

Postmodernist Conception: Postmodernism challenges the idea of a sin-

gle, unified self. Instead, it views identity as fragmented and multiple.
Postmodernists argue that identity is constantly being constructed and
deconstructed through our interactions with others and with the world
around us. In Stuart Hall’s opinion, “Identity is not as transparent or un-
problematic as we think. Perhaps instead of thinking of identity as an al-
ready accomplished fact, which the new cultural practices then represent,
we should think, instead, of identity as a ‘production’ which is never com-
plete, always in process, and always constituted within, not outside, rep-
resentation.” (392) Judith Butler observes, “The mobilization of identity
categories for the purposes of politicization always remain threatened by
the prospect of identity becoming an instrument of the power one oppos-
es.” (xxvi)

Feminist Conception: Feminism has been a major force in challenging

traditional notions of gender identity. Feminists argue that gender is a
social construct, not a biological fact. In the words of Simone de Beauvoir
“One is not born, but rather becomes, a woman.” (273) They also argue
that gender identity is shaped by power relations, and that women have
been systematically oppressed by men. Bell Hooks points out, ““To be
an oppressor is dehumanizing and anti-human in nature, as it is to be a
victim.”(114)

Conception of Identity in Critical race theory: Critical race theory exam-

ines the ways in which race and racism shape identity. CRT scholars argue
that race is a social construct, not a biological fact. They also argue that
race is a central organizing principle of society, and that it has a profound
impact on our lives. Kimberlé Crenshaw argues, “[R]acism as experienced
by people of color who are of a particular gender—male—tends to deter-
mine the parameters of antiracist strategies, just as sexism as experienced
by women who are of a particular race-white-tends to ground the wom-
en’s movement. “ (1252) Ibram X. Kendi points out, “. . . racist and antirac-
ist are not fixed identities. We can be a racist one minute and an antiracist
the next. What we say about race, what we do about race, in each moment,

122
 Chaswal & Chaswal 2023
determines what - not who - we are.” (10)

These are just a few examples of critical theories about identity. There
are many other theories that could be mentioned, and the field of critical
identity studies is constantly evolving. However, these theories provide a
starting point for understanding the complex and multifaceted nature of
identity.

It is important to note that critical theories about identity are not without
their critics. Some critics argue that these theories are too relativistic and
that they do not provide a foundation for moral or political action. Oth-
ers argue that these theories are too focused on the negative aspects of
identity and that they do not do enough to celebrate the positive aspects
of diversity. Despite these criticisms, critical theories about identity have
had a profound impact on our understanding of who we are and how we
want to live our lives. These theories have helped us to see that identity
is not fixed, but rather is fluid and multiple. They have also helped us
to understand the ways in which our identities are shaped by social and
historical context.

Identity and Postcolonial Deliberations

The postcolonial conception of identity reflects the multifaceted impact of

colonialism on individuals and societies. It challenges the homogenizing
effects of colonization, emphasizing diverse cultural, ethnic, and historical
backgrounds. Identity is seen as a fluid construct shaped by interactions
between colonizers and colonized. Hybridity and creolization emerge
as central themes, acknowledging the blending of cultures. Postcolonial
thought seeks to reclaim and celebrate marginalized voices, aiming to
restore a sense of agency and autonomy. It underscores the need to de-
construct colonial ideologies and redefine identities on authentic terms,
fostering a more inclusive, decolonized worldview.

A. Claiming the ‘Subject’ Position

One of the central themes in Things Fall Apart is the exploration of African
identity within the context of colonialism. Achebe challenges the prevail-
ing narratives of the time that portrayed Africans as passive recipients
of European dominance. Instead, he presents complex and multifaceted
characters who actively shape their destinies and resist the erasure of their
culture and traditions. Okonkwo, in his pursuit of success and recogni-
tion, embodies the determination to reclaim agency and assert a distinct

123
IIS Univ.J.A. Vol.12 (3&4), 120-132 (2023)
African identity in the face of brutal colonialism. Jeyifo rightly points
out, “no colonization is ever given up easily, voluntarily, in “a fit of ab-
sent-mindedness.” (854)

B. Ethnic Character of African Identity:

Achebe delves into the ethnic character of African identity, emphasizing

the richness and diversity of African cultures. Through vivid descriptions
of customs, rituals, and communal life in Umuofia, he paints a nuanced
picture of Igbo society. The novel showcases the importance of kinship,
oral tradition, and communal values in shaping individual and collective
identities. By highlighting the intricate fabric of African culture, Achebe
challenges the monolithic representations often perpetuated by colonial
powers. Rhoads is of the view, “Igbos as a whole reveal themselves more
tolerant of other cultures than the Europeans, who merely see the Igbos as
uncivilized. In other words, the Igbo are in some ways superior to those
who come to convert them.”(63)

Cultural Fabric of the Tribal Community in Africa:

A. Social Hierarchy and Gender Roles: Within the Igbo community,

Things Fall Apart portrays a hierarchical structure where age, gender, and
titles dictate one’s position. Achebe examines the significance of titles and
the value placed on masculine traits, as Okonkwo’s success is measured
by his ability to embody the ideal warrior archetype. Additionally, Achebe
sheds light on the experiences of women, revealing their resilience, con-
tributions, and the constraints imposed upon them by patriarchal norms.
The narrator tells us that Okonkwo’s father, Unoka, was considered a fail-
ure by his community because he had never taken a title. A title is a sign
of achievement and respect in Igbo culture, and Unoka’s lack of one made
him a social outcast. Okonkwo was ashamed of his father, and he vowed
to never be like him. Corley observes:

Unoka, having taken no title was socially regarded as agbala. Ag-

bala . . . , is ‘not only another word for a woman [but] could also
mean a man who had taken no title’ . . . Here the narrative expo-
sition of agbala suggests that maleness and femaleness exist in
a hierarchical relation. What’s more, the suggestion, implicit in
the communal usage, that maleness is built upon, or an aggre-
gate of, femaleness or that femininity is the ground of masculinity
disarticulates the binary opposition of genders both in western
regimes and in critical accounts of the novel. (208)

124
 Chaswal & Chaswal 2023
B. Religious and Spiritual Beliefs: The novel explores the religious and
spiritual beliefs of the Igbo people, highlighting the importance of ances-
tral worship, rituals, and the presence of multiple deities. Achebe show-
cases the interconnectedness between the spiritual and physical realms,
and the role of diviners and priests as mediators between the community
and the supernatural. These beliefs and practices are essential compo-
nents of the cultural fabric and contribute to the characters’ motivations
and actions. Nwoye argues, “Igbo traditional world-view is seen as heav-
ily anthropocentric. In it, the activities of the various categories of spirits
as well as the happenings in the other realms of the universe are seen as
meaningful insofar as they relate to human life and the general welfare of
humans in the environment.” (307)

Delineation of Identity Crisis in Achebe’s Things Fall Apart

Identity crisis - Oknonkwo

The novel opens with a portrayal of Okonkwo as a strong, successful, and

respected member of his community. He is a wealthy farmer and a fierce
warrior who has achieved great success in the traditional Igbo system of
achievement. As a fierce warrior he “defeated Amalinze the Cat was pro-
claimed the greatest wrestler in Umuofia and Mbaino” (Nnoromele 42).
As the story goes on, it becomes evident that Okonkwo’s sense of identity
is profoundly rooted in these ancient Igbo values and that the entrance of
the European conquerors poses a grave threat to that sense of self.

One of the key ways in which Achebe explores the theme of identity crisis
in the novel is through the character of Okonkwo’s father, Unoka. Unoka
is a weak and lazy man who is viewed as a failure in the traditional Igbo
society. Okonkwo is deeply ashamed of his father and works tirelessly
to prove that he is not like him. However, as the narrative progresses, it
becomes apparent that Okonkwo’s fear of being like his father is not just a
fear of physical weakness, but also a fear of being rejected by his commu-
nity for not conforming to the traditional values. His father as depicted in
the novel “was lazy and improvident and was quite incapable of thinking
about tomorrow” (Achebe 1). His love for music was well known to all
the villagers:

He was tall but very thin and had a slight stoop. He wore a hag-
gard and mournful look except when he was drinking or playing
on his flute. He was very good on his flute, and his happiest mo-
ments were the two or three moons after the harvest when the

125
IIS Univ.J.A. Vol.12 (3&4), 120-132 (2023)
village musicians brought down their instruments, hung above
the fireplace. Unoka would play with them, his face beaming with
blessedness and peace (Achebe 1).

Okonkwo did not want that his son should follow the life of Unoka that
is why “he has transcended the value of strength and industry to Nwoye
and Ikemefuna” (Agustin 49).

As the European colonizers begin to arrive in the community, Okonkwo’s

sense of identity is further threatened. He is unable to accept the changes
that are happening around him and becomes increasingly isolated from
his community. He is unable to reconcile his traditional Igbo values with
the new culture and religion that the colonizers are introducing, and
this leads to a deep sense of alienation and a loss of self. When Obierika
narrates the story of the white people’s influence in Abame and Umofia,
Okonkwo is finding it difficult to believe. He rebuts Obierika by saying
that they would be called “cowards to compare” themselves “with the
men of Abame” and he further says that they “must fight” (Achebe 57)
the white “men and drive them from the land” (Achebe 57). He is sus-
picious that “whether his people are courageous enough to accompany
him to declare war against the white man and his authority” (Avestan &
Mordaunt 36).

In the end, Okonkwo’s identity crisis leads him to take his own life, unable
to accept the changes in his community and unable to find a sense of self
that is not tied to the traditional Igbo values. This is a powerful example
of how Achebe uses the character of Okonkwo to explore the theme of
identity crisis in the novel.

Identity crisis – Unoka

In Chinua Achebe’s novel Things Fall Apart, the character of Unoka plays
a significant role in the exploration of the theme of identity crisis. Unoka
is the father of the protagonist, Okonkwo, and is depicted as a weak and
lazy man who is viewed as a failure in the traditional Igbo society. In the
very first chapter of the novel, we are told about the laziness and careless
attitude of Unoka:

. . . he was lazy and improvident and was quite incapable of think-

ing about tomorrow. If any money came his way, and it seldom
did, he immediately bought gourds of palm-wine, called round
his neighbours and made merry. Through the portrayal of Uno-

126
 Chaswal & Chaswal 2023
ka’s identity crisis, Achebe illustrates the impact of societal expec-
tations and the pressure to conform on the individual (Achebe
1).

In order to “cover up for his father’s failure, a flute-playing idler and loaf-
er. Okonkwo is also hard on his eldest son in order to wipe out the symp-
toms of Unoka’s weakness” (Eke & Mukoro 99).

Unoka’s identity crisis is rooted in his inability to conform to the tradition-

al Igbo values of masculinity, hard work, and wealth accumulation. He is
seen as a disgrace to his family and community, who value strength and
success above all else. Unoka is unable to measure up to these expecta-
tions, as he is not a successful farmer and is in debt to his fellow villagers.
He is also depicted as being unmasculine, as he prefers music and story-
telling to the traditional Igbo pursuits of hunting and warfare. Unoka was
a man who could not stand the sight of blood. He would not even kill a
chicken, and so he was not considered a man at all.

Unoka’s identity crisis is also reflected in his relationship with his son
Okonkwo. Okonkwo is deeply ashamed of his father and works tirelessly
to prove that he is not like him. Okonkwo had heard many stories of his
father’s laziness and weakness. Okonkwo had always been ashamed of
his father:

Unoka, the grown-up, was a failure. He was poor and his wife
and children had barely enough to eat. People laughed at him be-
cause he was a loafer, and they swore never to lend him any more
money because he never paid back (Achebe 2).

Unoka’s identity crisis is further magnified by his untimely death. He

dies without a proper burial, which is considered a great shame in the
traditional Igbo society. This further reinforces the idea that Unoka is an
outsider in his own community, unable to conform to the societal expec-
tations. Unoka’s name was never mentioned in Okonkwo’s presence be-
cause of the shame he brought to his family and the tribe.

Identity crisis – Nwoye

Throughout the novel, Nwoye is portrayed as being different from the

other members of his community, particularly his father. He is not as in-
terested in the traditional Igbo pursuits of hunting and warfare, and in-
stead finds solace in storytelling and music:

127
IIS Univ.J.A. Vol.12 (3&4), 120-132 (2023)
Nwoye knew that it was right to be masculine and to be violent,
but somehow he still preferred the stories that his mother used to
tell, and which she no doubt still told to her younger children--sto-
ries of the tortoise and his wily ways, and of the bird eneke-nti-
oba who challenged the whole world to a wrestling contest and
was finally thrown by the cat (Achebe 17).

This is seen as a sign of weakness and unmanliness in the traditional Igbo

society, and Nwoye’s father Okonkwo often beats him for not conforming
to these expectations. In the novel we also find that when Nwoye was
merely twelve years old even at that time he was a cause of concern for
his father:

. . . causing his father great anxiety for his incipient laziness. At

any rate, that was how it looked to his father, and he sought to
correct him by constant nagging and beating. And so Nwoye was
developing into a sad-faced youth”.(Achebe 4).

As the European colonizers arrive in the community, Nwoye’s identity

crisis intensifies. He is drawn to the new religion of Christianity, which is
seen as a rejection of the traditional Igbo culture and values. Nwoye finds
comfort and acceptance in the teachings of Christianity, which provides
him with a sense of belonging that he does not find in his own commu-
nity. However, there was a little boy who had fallen under its spell. The
first child of Okonkwo had the name Nwoye. He wasn’t mesmerised by
the Trinity’s bizarre logic. He failed to comprehend it. It was the new reli-
gion’s lyricism, which touched people deep within. It is pertinent to point
out that:

It was not the mad logic of the Trinity that captivated him. He did
not understand it. It was the poetry of the new religion, something
felt in the marrow. The hymn about brothers who sat in darkness
and in fear seemed to answer a vague and persistent question that
haunted his young soul--the question of the twins crying in the
bush and the question of Ikemefuna who was killed (Achebe 48).

The hymn’s description of two brothers who were sitting in darkness and
terror seemed to provide an answer to a nagging dilemma that had been
plaguing his young spirit regarding both the twins who were wailing
in the bush and the murdered Ikemefuna. As the hymn soaked into his
parched spirit, he let out a sigh of relief. The hymn’s lyrics had the same
melting effect as iced raindrops on the parched ground.

128
 Chaswal & Chaswal 2023
However, Nwoye’s conversion to Christianity is not without consequenc-
es. He is rejected by his father and the community, who see his conver-
sion as a betrayal of the traditional Igbo culture. Nwoye’s identity crisis
is further complicated by the fact that he is torn between the two worlds,
unable to fully embrace either one, “Nwoye’s callow mind was greatly
puzzled” (Achebe 48). Achebe says, “Nwoye had been attracted to the
new faith from the very first day, he kept it secret. He dared not go too
near the missionaries for fear of his father” (49).

When Nwoye truly embraces his new identity as a Christian and departs
from his village, Nwoye’s identity dilemma is ultimately overcome. He
returned to the church and informed Mr. Kiaga of his decision to travel
to Umuofia, where a school had been established by the white missionary
to instruct young Christians in reading and writing. Mr. Kiaga was quite
happy:

“Blessed is he who forsakes his father and his mother for my

sake,” he intoned. “Those that hear my words are my father and
my mother.” Nwoye did not fully understand. But he was happy
to leave his father. He would return later to his mother and his
brothers and sisters and convert them to the new faith” (Achebe
50).

Identity Crisis – Ikemefuna

In Chinua Achebe’s novel Things Fall Apart, the character of Ikemefuna

plays a significant role in the exploration of the theme of identity crisis.
Ikemefuna is a young boy who is taken in by the Igbo tribe as part of a
peace settlement between neighbouring tribes. He is adopted by the pro-
tagonist Okonkwo and is treated as a son, but his identity crisis stems
from his inability to fully assimilate into the tribe and his uncertain status
as a “stranger.”

Throughout the novel, Ikemefuna is portrayed as being different from the

other members of the tribe. He is not familiar with the customs and tradi-
tions of the Igbo people and struggles to understand their way of life. This
is further complicated by the fact that he is not fully accepted by the tribe,
as he is seen as a stranger and an outsider. Ikemefuna had begun to realize
that he would never be able to fully assimilate into the tribe and would
always be seen as an outsider.

Ikemefuna’s identity crisis is also reflected in his relationship with Okonk-

129
IIS Univ.J.A. Vol.12 (3&4), 120-132 (2023)
wo, who struggles to understand and accept Ikemefuna as a son. Okonk-
wo is depicted as a strict and traditionalist, who values strength and mas-
culinity above all else. He is unable to connect with Ikemefuna and often
treats him harshly, which further exacerbates Ikemefuna’s sense of alien-
ation and uncertainty:

To show affection was a sign of weakness,-the only thing worth

demonstrating was strength. He therefore treated Ikemefuna as
he treated everybody else - with a heavy hand. But there was no
doubt that he liked the boy (Achebe 8).

As the novel progresses, Ikemefuna’s identity crisis is further intensified

when he is eventually killed on the orders of the tribe’s Oracle. The oracle
tells Okonkwo not to participate in the killing of Ikemefuna but “Okonk-
wo defied the warning from Ezeudu and took part in the killing of Ikeme-
funa” (Okoro 62). This killing of lkemefuna affects Okonkwo and others
in the tribe as they have to face their own inner turmoil and guilt. Ikeme-
funa’s death was a turning point for the tribe, as it forced them to confront
the reality of their actions and the consequences of tradition and customs.

Furthermore, Ikemefuna’s death also highlights the theme of the loss of

tradition and cultural identity. The fact that the tribe would sacrifice one
of their own in the name of tradition and customs shows the extent to
which they are willing to preserve their cultural identity and tradition,
even if it means losing a member of their community.

Conclusion

In conclusion, Things Fall Apart by Chinua Achebe is a novel that explores

the theme of identity crisis in the character of Okonkwo. Through his por-
trayal of Okonkwo’s struggle to reconcile his traditional Igbo values with
the new culture and religion brought by the European colonizers, Achebe
shows how the arrival of colonialism can lead to a deep sense of alienation
and loss of self in individuals. This novel is a powerful commentary on
the impact of colonialism on traditional cultures and the human condi-
tion. “Okonkwo’s seeds of self-destruction” are “concealed his desire to
be the antitheses of his “feminine” father” (Strong-Leek 29). Through the
portrayal of Unoka’s identity crisis, Achebe illustrates the impact of soci-
etal expectations and the pressure to conform on the individual. Unoka’s
struggle to conform to the traditional Igbo values of masculinity, hard
work and wealth accumulation, and his untimely death without proper
burial, highlights the impact of societal rejection and exclusion on one’s

130
 Chaswal & Chaswal 2023
sense of self. Unoka’s character serves as a powerful commentary on the
dangers of societal pressure to conform, and the impact it can have on
the individual. In Chinua Achebe’s novel Things Fall Apart, the charac-
ter of Nwoye, the eldest son of the protagonist Okonkwo, is depicted as
struggling with an identity crisis. Nwoye’s identity crisis is rooted in his
struggle to reconcile the traditional Igbo culture and values, which are
embodied by his father, with the new culture and religion brought by the
European colonizers. In conclusion, through the portrayal of Ikemefuna’s
identity crisis, Achebe illustrates the impact of societal acceptance and be-
longing on one’s sense of self. Ikemefuna’s struggle to assimilate into the
tribe, his uncertain status as a stranger and his eventual death, highlights
the devastating impact of exclusion and rejection on the individual. Ike-
mefuna’s character serves as a powerful commentary on the importance of
belonging and acceptance in shaping one’s identity, and the consequenc-
es of losing tradition and cultural identity. Finally, the novel exhibits the
tragic struggle of the protagonist to assert and protect his tribal identity
in the face of foreign influences which threaten to subdue that very tribal
identity. However, the tragic end of the protagonist does not belittle the
spirit of struggle shown by the protagonist to preserve and maintain his
pride and tribal identity. In fact, it is the struggle which matters, not the
result of struggle.

Works Cited:

Achebe, Chinua. Things Fall Apart. NP: Knopf, 1995. Print.

Agustin, J. “Symbolic representation of farm in Chinua Achebe’s Things

Fall Apart.” International Journal of Research Publications, 99.1 (2022):
46-51. Print.

Avestan, S., & O. G. Mordaunt. “The “Roaring Flame”: Pursuing Thymos in

Chinua Achebe’s Things Fall Apart.” International Dialogue, 12.1
(2022): 25-41. Print.

Beauvoir, Simone de. The Second Sex. Jonathan Cape, 1956. Print.

Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. Rout-
ledge, 1999. Print.

Corley, Ide. “Conjuncture, hypermasculinity and disavowal in Things Fall

Apart.” Interventions, 11.2 (2009): 203-11.
131
IIS Univ.J.A. Vol.12 (3&4), 120-132 (2023)
Crenshaw, Kimberle. “Mapping the Margins: Intersectionality, Identity
Politics, and Violence against Women of Color.” Stanford Law Re-
view, 43.6 (1991): 1241–99. Print.

Eke, K., & E. Mukoro. “Maslow’s Theory and Achebe’s Things Fall Apart.”
Akshara: An International Refereed Research Journal of English Litera-
ture and Language, 14(2022): 92-102. Print.

Hall, Stuart. “Cultural Identity and Diaspora.” Colonial discourse and

post-colonial theory. Routledge, 2015. 392-403. Print.

Hooks, Bell. Ain’t I a Woman: Black Women and Feminism. Pluto Press, 1990.
Print.

Jeyifo, B. “Okonkwo and his mother: Things Fall Apart and issues of gen-
der in the constitution of African postcolonial discourse.” Cal-
laloo 16.4 (1993): 847-58. Print.

Jweid, A. N. A. “The Fall of National Identity in Chinua Achebe’s Things

Fall Apart.” Pertanika Journal Social Sciences and Humanities,
24.1(2016): 529-40. Print.

Kendi, Ibram X., How to be an Antiracist. One World, 2019. Print.

Nnoromele, Patrick C. “The plight of a hero in Achebe’s Things Fall

Apart.” Chinua Achebe’s Things Fall Apart. Ed. Harold Bloom. NY:
Infobase Publishinhg, 2010. 39-49. Print.

Nwoye, Chinwe MA. “Igbo cultural and religious worldview: An insid-

er’s perspective.” International Journal of Sociology and anthropolo-
gy 3.9 (2011): 304-17. Print.

Okoro, E. “Chi symbolism in Achebe’s Things Fall Apart: a hermeneutic

understanding.” Ogirisi: A New Journal of African Studies, 5 (2008):
55-65. Print.

Rhoads, D. A. “Culture in Chinua Achebe’s Things fall Apart.” African

Studies Review, 36. 2 (1993): 61-72. Print.

Strong-Leek, L. “Reading as a woman: Chinua Achebe’s Things Fall Apart

and feminist criticism.” African Studies Quarterly, 5.2 (2001): 29-35.
Print.

132