Tegeera Study Track

Literature is a strong way to show problems in society and call for change. Chinua Achebe’s Things Fall Apart is a good example because it tells the story of Okonkwo and the Igbo people in Nigeria. Through this story, Achebe fights against the wrong ideas many colonial books had about African culture and shows the real life and traditions of the Igbo community.

Achebe shows that the Igbo people had their own rich culture, history, and way of doing things (Ghani et al.). In Chapter 10, he talks about how they handled justice in the community. Elders, who are represented by masked figures called egwugwu, come together to settle disagreements. In one case, they help solve a problem between a man and his in-laws. They first listen to both sides, then give a fair decision. This shows that the Igbo had a justice system where the whole community was involved, not just one person in charge. It is very different from the strict and top-down British system that came later with colonial rule.

Achebe also criticizes how colonialism and Christianity affected Igbo traditions. In Chapter 22, a man named Enoch, who has become a very fanatical Christian, tears off an egwugwu mask during a ceremony. This is seen as a disrespectful act, and in anger, the community decides to burn down the church in response (Achebe 136-137). This act of defiance is a powerful symbol of resistance. It shows how Achebe is calling for the preservation of African culture in the face of foreign influence.

Another form of protest is shown through Nwoye’s decision to join Christianity in Chapter 17 (Achebe 112). This goes against the expectations in Igbo culture, where young men are supposed to follow their fathers’ traditions. Nwoye refuses to accept certain customs, like the abandoning of twins and the killing of Ikemefuna, who had become like a brother to him (Achebe 44–45, Ch. 7). His decision to follow the new religion shows the cultural conflict brought by European influence and how it divided families and communities (Azad).

The novel also shows how colonial rule weakened the Igbo’s traditional way of leadership, which was based on shared power and respect for elders. In Chapter 20, Achebe explains how the District Commissioner and the foreign courts begin to take control, ignoring the authority of the local leaders (Achebe 127). Later, in Chapter 23, the colonial officers arrest and embarrass the village elders, showing that the new system depends more on force than on fairness or dialogue. Finally, when Okonkwo dies, the District Commissioner does not see the pain or meaning behind the act. Instead, he simply thinks about writing it into his book (Achebe 151, Ch. 25). This shows how the colonial government failed to understand or respect Igbo culture and unity.

Achebe also shows that colonial education was used as a way to control and change the minds of the people. In Chapter 20, the missionary Mr. Brown starts a school that teaches Western values. While this may seem helpful, it slowly pushes aside Igbo ways of learning. As more people focus on reading and writing in English, they begin to forget traditional knowledge like storytelling and learning from elders. The oral tradition—which was very important in Igbo life—starts to lose its place. This is seen clearly in Chapter 1, where Achebe says that the Igbo value conversation and use proverbs to pass on wisdom: “Proverbs are the palm-oil with which words are eaten” (Achebe 6).

The novel also questions traditional gender roles by showing strong female characters like Ekwefi. She is not like the typical woman in Igbo society, where women were expected to stay quiet and follow their husbands. For example, she makes a bold choice to leave a child marriage (Achebe 80, Ch. 11). Her deep love for her only surviving daughter, Ezinma—after losing nine other children—also shows her strength (Achebe 55–56, Ch. 9). When Ezinma falls sick, Ekwefi is brave enough to knock on Okonkwo’s door in the middle of the night to wake him up. This act shows that she is willing to stand up for what matters to her. Through Ekwefi, Achebe shows that women, too, had voices and could push back against a society that expected them to be silent and submissive.

Okonkwo also represents both the strengths and weaknesses of Igbo society. He is known as a great wrestler and a hardworking farmer, which reflects the community’s respect for masculinity, personal success, and effort. These are the values that gave him honour. But at the same time, his fear of being seen as weak—like his father—leads him to make poor decisions. In the end, this fear plays a big role in his downfall. His death in Chapter 25 is not just about him as a person; it also shows how colonialism destroyed the traditional Igbo way of life. Okonkwo’s refusal to accept the new colonial system and his final actions highlight the pain of losing cultural identity, leadership, and freedom under foreign rule.

The novel also talks about social classes and inequality within Igbo society. The richer men and the elders are the ones who make important decisions (Achebe 6, Ch. 1), while poorer people and those who are looked down on don’t get a say in these matters (Achebe 114–115, Ch. 18).

In conclusion, Achebe shows the rich and complicated culture of the Igbo people to fight against wrong ideas that Western writers had about Africa. Through the struggles of his characters and their fight against changes brought by colonialism, Achebe uses Things Fall Apart as a way to protest social injustice. He calls for protecting African culture and standing strong against colonial rule.

 

References

 

Achebe, Chinua. Things Fall Apart. Penguin Classics, 2001.

Arya, Sunita. “Literature as Weapon of Protest: A Comparative Approach.” The Global Journal of Multidisciplinary Studies, 2015.

Azad, Md Jahidul. "The Colonized Fall Apart: A Postcolonial Analysis of Achebe’s Things Fall Apart."

Ghani, Mamuna et al. “Things Fall Apart: Chinua Achebe Writes Back to the Centre." Journal of Educational Research, 2013.

 

Although set in the 1970s and 1980s, Christine's experience remains relatable to today’s university students in Uganda. The average Ugandan student is between 19 and 24 years old, and to be honest, those are the years when someone is likely to “kiss some frogs," for it is the stage in life when many young women feel most attractive and vulnerable.

Life After Amin: A Country in Crisis

Life in post-Amin Uganda was full of hardships and contradictions. The country was trying to recover from the trauma of violence, economic collapse, and social dislocation brought by Idi Amin’s regime.

Many people lost loved ones in the war that ousted Amin. Families were separated, with some going abroad for greener pastures, while others simply “disappeared.” The Ugandan middle class almost vanished, and many youths grew up with no clear mentors.

Christine’s story reflects this environment, especially how young women were navigating a society full of inequality, cultural confusion, and shifting values.

Power Imbalance and Cultural Confusion

One strong theme in the chapter is the power imbalance between Ugandans and foreigners. The “Bazungu,” as they are called in East Africa, often enjoy more privileges than Ugandans in their own country.

Christine struggles to find her place in a society that treats whiteness as superior. This was common in Kampala after Amin’s fall, where foreign aid workers and investors lived in posh areas like Muyenga — just like Peter did.

Even today, these power dynamics still exist, especially in business and employment.

Christine is also torn between traditional Ugandan expectations and Western influences. She lacks proper guidance and role models.

This confusion is still faced by many Ugandan youths, especially in urban areas. Social media, global pop culture, and studying abroad make it hard for many to balance traditional values with modern trends.

There is pressure to “look modern” and “make it in life,” and like Christine, many young women find themselves making uncomfortable choices to survive or fit in.

Love, Comfort, and Survival

Christine depends on Peter for financial support and emotional comfort — a form of survival, not love.

This scenario is still common. Many students or young professionals in Uganda today enter relationships for financial stability, especially with older, wealthier partners.

Social media often reflects this, with memes and comments mocking men who cannot afford transport for their girlfriends. One common phrase is: “Omwavu tafumita ku lindazi” (a poor person does not poke a doughnut) — meaning, “You’re broke, so don’t expect anything from me.”

Finding Yourself in a Changing World

Christine’s self-discovery reminds me of Kirabo in Jennifer Makumbi’s The First Woman. While Christine travels abroad and struggles to fit in upon her return, Kirabo’s journey is about searching for her mother and learning about Buganda-style feminism (omwenkanonkano).

Both characters deal with complicated family ties and societal expectations before they can truly understand who they are. 

Baingana shows racial and economic inequality not through big drama, but through emotional tension and quiet reflection.

Unlike Makumbi or Okot p’Bitek, who use strong criticism and historical references, Baingana’s power lies in simple, emotional moments. She paints an honest picture of life in Uganda, where inequality silently shapes people’s relationships and decisions.

Storytelling Techniques That Stand Out

One technique I admire is Christine’s introspective and observant voice — it brings you close to her thoughts.

Baingana’s vivid descriptions and use of similes make the story more real. For example, Deo’s feet are described as “boats,” and Christine’s emotions as “a clean open hanky wandering in the wind.”

Her description of Kampala is powerful too:
 “The hot, dusty air blown up by the noisy, rushing traffic filled my head like thunder.” (p.93)

And in the taxi park:
“The conductor screamed for more, for more people, ordering us to move over, squash up; we all wanted to get home, didn’t we?” (p.94)

These images bring the setting to life.

A Quiet but Powerful Voice

Baingana writes in a calm but deep way that shows real Ugandan life, especially for young women. Her style is subtle, like someone telling you a secret, but her messages are strong.

She tells stories about family, faith, love, and growing up in a world full of changes. The emotions are honest, and the settings are recognisably Ugandan, yet universal.

So, Did Christine Make the Right Choices?

Christine made choices that many would call wrong — dating a white man for comfort or going abroad and ending up feeling lost.

But given the tough life she faced, those choices were her way of surviving and finding herself. They weren’t perfect, but they were real.

She did what she felt was right at that time, and that honesty is what makes her story powerful.

Tropical Fish left me deeply reflective. It shows how life is full of tough decisions, especially for young women. It does not offer happy endings, but it opens your eyes to the quiet struggles many people face.

Baingana’s story still resonates loudly with our Uganda today — and that is why it deserves to be read and discussed.

Excerpts from Doreen Baingana’s Tropical Fish (Chapter 6) are used here under fair use for educational and literary commentary. Source: Baingana, Doreen. Tropical Fish. Oshun Publishing, Cape Town, 2005.