Introduction of Author :-
Buchi Emecheta is considered one of the most prominent female African writers, celebrated for her novels chronicling the experiences of African women in Nigeria and abroad. Emecheta was born Florence Onye Buchi Emecheta on July 21, 1944 in Lagos, Nigeria. A member of the Ibo people, she grew up hearing her aunt tell stories and decided at an early age that she wanted to be a writer. She married at age 16 and moved with her husband and two young children to London in 1962. There she worked as a librarian at the British Museum, studied sociology at London University, became a community worker in Camden, and began writing stories that were based on her life, and published them in New Statesman magazine. These soon became The Ditch (1972) and Second-Class Citizen (1974), both collected in Adah’s Story (1983).
Emecheta’s other work includes fiction—
The Slave Girl (1977),
The Joys of Motherhood (1979),
Destination Biafra (1982),
Double Yoke (1982), and
The Rape of Shavi (1983)
Feminist Study of The Joys of Motherhood
Gender Inequality
For many years, African women have been relegated to the position of secondary importance in African society. This is seen in the Igbo women Emecheta portrays in her work, The Joys of Motherhood. The lives of Igbo women are carefully regulated by traditional laws and are enslaved to their traditions, which subjugate them to certain customs. That situation stems mainly from the nature of African societies which are mostly patriarchal. In The Joys of Motherhood, African women are presented as second-class citizens and as a result, there is a preference for boys over girls. In this text, the gender issue created is that it is better to give birth to a male child than a female one in the patriarchal Ibo society where the story is set. Consequently, premium is placed on the male child to the extent that when Nnaife's two wives, Adaku and Nnu Ego, become pregnant and Nnu Ego gives birth to a set of twins which are girls, Adaku is not sure about how Nnaife will receive the news. Nnu Ego and Adaku begin to imagine their husband's reaction in this conversation:
'Your first set of girls, senior wife,' Adaku said by way of congratulations. 'Hm, I know, but I doubt if our husband will like them very much. One can hardly afford to have one girl in a town like this to say nothing of two'.
Buchi Emecheta's novel portrays gender inequality in Igbo society.
Preference for Sons: Having sons is highly valued. Nnu Ego's disappointment upon giving birth to twins who are girls is shown in the conversation: "Your first set of girls, senior wife,' Adaku said... 'One can hardly afford to have one girl...". Nnaife's anger at the birth of girls is evident in his reaction: "Nnu Ego, what are these? Could you not have done better?".
Sons vs. Daughters: The value placed on sons creates tension. Adaku grieves her dead son more than Nnu Ego grieves her deceased daughter: "O God, why did you not take one of the girls and leave me with my male child". Nnu Ego even sees her daughters as a means to support her sons: "They are boys... You are to sell to put them in a good position...".
Favouritism: Nnu Ego escapes blame in a conflict because she has a son: "Don't you know... you are committing an unforgivable sin? ... If Nnaife had been married to only you, you would have ended his life... You have children, but they are girls...".
This portrayal of valuing sons over daughters exposes gender bias within Igbo society.
Sex-Role Distinctions
A dominant belief that permeates the novel Joys of Motherhood is the sex-role distinctions. The various roles, duties and expectations from male and female are implicit in the novel. African women are depicted as people whose permanent place is the kitchen, hence, the popular quote;
"Female's Education Ends in the Kitchen".
Consequently, men and women are socialised at birth to perform different roles; boys go out to play whereas girls do household chores. This text presents a scene where Adaku beckons Oshia, a male child and Dumbi, a female child to go and fetch water from the tap for the evening's meals and what comes out of Oshia's mouth is unfortunate:
"I am not going! I am a boy, why should I help in the cooking? That's a woman's job".Oshia declines to play with his friends but Nnaife adds to this problem by instructing him to "go out and stop listening to female gossip".
The traditional domestic roles of the woman include house chores, taking care of the babies or children and satisfying the man's sexual desire. All these are depicted in Buchi Emecheta's Joys of Motherhood. There is also the belief of 'striving' or 'trying' to be 'a better wife' and 'the best wife'; Nnu Ego did all her best to please her husband. This is shown when she said: "Nnaife is the head of our family. He owns me, just like God in the sky owns us. So even though I pay the fees, he owns me. So in other words he pays" . This suggests that a woman typically learns how to 'please' the man, and she is the one who is expected to make the relationship or marriage work.
Another traditional belief is that the man demands sex and dictates 'sex time'. Nnu Ego lamented about her first sex with Nnaife, how he didn't allow her to rest after her journey from Ibuza to Lagos. The narrator says "He demanded his marital right as if determined not to give her a chance to change her mind. She had thought she would be allowed to rest at least on the first night after her arrival before being pounced upon by this hungry man, her new husband".
From the foregoing, it is obvious that gender roles are rampant in African society and it sometimes leads to the subordination of women and this is what the African feminists are fighting against.
Wife Inheritance
Here we discuss wife inheritance, a tradition in Igbo society depicted in Buchi Emecheta's "The Joys of Motherhood". Widows were expected to marry a deceased husband's brother, securing their financial well-being and keeping wealth within the family.
Inheritance as Tradition: "Nnu Ego knew that her father could not help her...four I inherited on the death of relatives." This quote highlights how inheriting wives was a common practice.
Women as Property: The passage criticizes the objectification of women by comparing them to inherited possessions.
Nnu Ego's Resistance: Nnu Ego exemplifies resistance against the practice. She disapproves of her husband inheriting Adaku due to financial strain and potential marital conflict. ("Nnu Ego fought back tears...")
Gender Violence
Women are presented as people that could be beaten at will in The Joys of Motherhood. Nnaife goes out to play guitar with his friends and on returning he finds a bowl which is carefully covered. He predicts that the bowl might be containing his food but to his dismay, he finds the three pounds that he has given to his wives carefully covered in the bowl. Nnaife's shock and dismay is expressed as:
"Now what is this?" he asked in bitter anger. His voice was tremulous and he directed his displeasure at Nnu Ego, who seemed to shrink under his stare" .
In a reply to Nnaife's question, Adaku answers her husband saying: The food money you gave us is too small. Nwakusor and other men give their wives double the amount you give us .When we go to the market, we have to keep wandering from stall to stall in search of bargaining, because we can never afford anything .
Brutal reality of domestic violence and gender inequality in "The Joys of Motherhood". Nnaife's violent response to Adaku's failure to provide food underscores the normalized oppression of women in Igbo society. Buchi Emecheta exposes the entrenched cultural norms that perpetuate female subjugation, with no intervention indicating societal acceptance of wife-beating. Adaku's defiance hints at the potential for resistance against oppressive norms, though met with violence. This critique resonates with African feminist ideals of challenging norms to empower women. Emecheta's portrayal emphasizes the urgent need for societal transformation to dismantle such dehumanizing practices. The passage underscores the broader goal of African feminism: to confront and dismantle oppressive cultural norms, enabling women to reclaim their agency and dignity.
Men’s Dominance and Control (Patriarchy)
Patriarchy is a social system where males hold primary power and predominate in roles of political leadership, moral authority, social privilege, and control of property. In the domain of the family, fathers or father-figures hold authority over women and children. Some patriarchal societies are also patrilineal, meaning that property and title are inherited by the male lineage. Historically, patriarchy has manifested itself in the social, legal, political, religious, and economic organisation of a range of African cultures.
This issue of patriarchal structures and the hierarchical relation between men and women is an important feminist theme in the novel "The Joys of Motherhood." Women in the novel are portrayed as subordinate to men and lacking autonomy. Nnu Ego reflects on this, asserting:
"God, when will you create a woman who will be fulfilled in herself, a full human being, not anybody's appendage?.. After all, I was born alone and I shall die alone. What have I gained from this? Yes, I have many children… I am a prisoner of my own flesh and blood. Is it such an enviable position? Men make it look as if we must aspire for children or die. That's why when I lost my first son I wanted to die, because I failed to live up to the standard expected of me by the males in my life, my father and my husband and now I have to include my sons. But who made the law that we should not hope in our daughters? We women subscribe to that law more than anyone until we change all this, it is still a man's world which women will always help to build".
The novel portrays women as commodities subject to men's whims, exemplified by Agbadi, a chief who discards wives for new conquests. He marries multiple women but grows bored, seeking excitement with mistresses. Agbadi's neglect leads to tragedy when his senior wife, Agunwa, falls ill after overhearing him with a mistress, Ona. Some attribute her illness to sacrificial loyalty, but others recognize the emotional toll of witnessing her husband's infidelity. This narrative underscores the objectification of women and the destructive impact of male entitlement in the society depicted.
This emotional portrayal of women's plight in a patriarchal society underscores their lack of autonomy and means to reject the choices and preferences of men, even when those bring them pain, as in Nnu Ego's case. This forms the basis for African feminists seeking to carve out space for women to freely make their own choices, rather than living at the whims of men.
Lack of Freedom
lack of freedom and imprisonment experienced by African women, exemplified through the character of Nnu Ego in Emecheta's "Joys of Motherhood." Nnu Ego is portrayed as confined by her devotion to her children, her status as a senior wife, and the cultural mandate for women to bear numerous children, particularly sons, for societal validation.
Nnu Ego's struggles in providing for her children and her poignant questioning of societal expectations are central to the narrative. Her poignant reflection, "Yes, I have many children but, what do I have to feed them on? In my own life, I have to work myself to the bone to look after them; I have to give them my all," encapsulates her sense of entrapment. This dialogue highlights her emotional burden and the disparity between societal ideals and the harsh reality of her existence.
Nnu Ego's assertion of feeling like a prisoner due to cultural and household norms is significant. She laments, "I am a prisoner of my own flesh and blood. Is it such an enviable position?" This introspection underscores her desire for autonomy and questions the societal constructs that confine her.
Also draws attention to the pervasive influence of customs and traditions, as noted by Lightfoot-Klein's observation: "Custom in Africa is stronger than domination, stronger than the law, stronger even than religion." This insight underscores the enduring power of cultural norms in shaping the lives of African women, often at the expense of their freedom and agency.
The novel illuminates the plight of African women through the lens of Nnu Ego's character, highlighting their struggle for autonomy amidst entrenched cultural expectations and societal pressures.
Motherhood
Motherhood is often viewed as an inherent set of feelings and behaviours that arise from pregnancy and childbirth. However, it is an experience profoundly shaped by social and cultural contexts. In many African societies, motherhood carries significant cultural and religious meanings – with societal expectations of what a mother should be, as well as religious connotations.
The concept of motherhood has been central in African traditions, with writers, both men and women, encouraging women to bear children. Women without children are often seen as incomplete or even evil. Motherhood is considered a blessing, granting a woman higher status and respect in society, almost to the point of mythology.
Emecheta's novel, The Joys of Motherhood, exemplifies this through the character of Nnu Ego. She values children above material gains, even sacrificing her trading business during pregnancy to avoid miscarriage, preferring poverty to the risk of losing a child. As the narrator conveys,
"She had reminded herself of the old saying that money and children don't go together. If you spent all your time making money and getting rich, the gods wouldn't give you any children."
In the patriarchal Ibuza society depicted, women are primarily remembered for their children, not men. This is evident when Nnaife, Nnu Ego's husband, purposely misses his son Oshie's departure, reasoning, "Will they remember me when I'm old? No, they will remember only their mother." After her death, Nnu Ego is renowned in Ibuza, with a grand funeral paid for by Oshie to honour "what a good son he was." Even then, some accuse her of "giving all to her children," reflecting the notion that a mother's joy lies in selfless devotion to her offspring.
The novel portrays women as primarily valued for their ability to bear children. Those unable to conceive, like Nnu Ego initially, are deemed "useless" and less than human by their husbands, subjected to verbal abuse and derogatory labels like "Iyawo" – a woman without a child.
Girl-Education
Another issue that has eaten deep into African society is the girl-education issue. The female gender is seen as inferior beings and so because of this, so much importance is not given to their education. Nnu Ego's daughters could not go to school because the education of their brothers is considered more important. The only important thing that the female folks have is the payment of their brideprice which would probably be used to sponsor the male folks to school. Taiwo complained about the boys not joining them to hawk and her mother replies: They have to go to their lesson, Taiwo: and stop moaning. You are a girl you know. This shows that Nnu Ego is not concerned about the girls' education. She is only after Oshia and Adim' schooling. The narrator also confirms this: …The Owulum twins were very beautiful. They did not go to school.
The lack of access to education for girls in many African societies, as depicted in the novel. The dialogue and quotes you provide highlight the deep-rooted gender bias and discrimination, where educating boys is prioritized over girls. Nnu Ego's response to Taiwo clearly reflects this mindset - that a girl's role is not seen as needing education, but rather to contribute to domestic labour and eventually fetch a bride price to fund the education of male children.
The narrator's observation about the Owulum twins not attending school further reinforces this gender disparity in education. Their beauty is noted, suggesting their value lies in their prospects for marriage, rather than intellectual or personal development through schooling.
This systemic undervaluing of girls' education not only perpetuates gender inequality but also holds back entire societies from reaching their full potential. Denying girls access to knowledge and skills severely limits their life opportunities and ability to contribute fully to their communities and nations.
While reflecting a harsh reality in many parts of Africa during the time depicted, the novel poignantly shines a light on this unjust practice. Increasing educational opportunities for all children, regardless of gender, remains a crucial challenge that still requires dedicated efforts to uproot deeply entrenched patriarchal norms and beliefs about female inferiority.
Conclusion
"The Joys of Motherhood" exposes a range of feminist issues in African society. The novel highlights gender inequality, rigid gender roles, wife inheritance, violence against women, male dominance, and limitations on female education and choice. This analysis reveals the ongoing struggle for gender equality in Africa, where patriarchal structures continue to favour men's perspectives and limit women's opportunities. Despite the efforts of some women to challenge these norms, change remains slow. The study emphasizes the value of feminist critical discourse analysis in understanding the social and cultural factors that shape women's experiences in Africa. This approach aims to empower women and achieve gender equality, not to demonise men, cultures, or religions.
Reference -
Barman, Himakshi. "Patriarchy and the Joys' of Motherhood: A Study of Buchi Emecheta's The Joys of Motherhood." Feminism and Literature: Text and Context (2015): 29-39.
Barman, Himakshi. "Patriarchy and the'Joys' of Motherhood: A Study of Buchi Emecheta's The Joys of Motherhood." Feminism and Literature: Text and Context (2015): 29-39.
Barfi, Zahra, and Sarieh Alaei. “Western Feminist Consciousness in Buchi Emecheta's The Joys of Motherhood.” Western Feminist Consciousness in Buchi Emecheta's The Joys of Motherhood, 8 October 2014, https://d-nb.info/1192204476/34. Accessed 23 April 2024.
Snitow, Ann. "Feminism and motherhood: An American reading." Feminist Review 40.1 (1992): 32-51.
Umeh, Maria, and flora Nwapa. “(PDF) Feminism in Literature: A Study of Emecheta's the Joys of Motherhood and Nwapa's Efuru.” ResearchGate, 22 December 2023, https://www.researchgate.net/publication/376441389_Feminism_in_Literature_A_Study_of_Emecheta's_the_Joys_of_Motherhood_and_Nwapa's_Efuru. Accessed 23 April 2024.
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