Facts And Fiction In Akachi Adimora – Ezeigbo’s Chldren Of The Eagle And The Last Of The Strong Ones

Project and Seminar Material for Linguistics and Communication

Facts And Fiction In Akachi Adimora – Ezeigbo’s Chldren Of The Eagle And The Last Of The Strong Ones


Abstract


This research work addressed itself to the way people tend to see fictional works. People see fictional works as being fictitious, but they are over laid with fact. This long essay, using Akachi Adimora. Ezeigbo’s works as guide, demonstrated the impact of the intermeddling of fact with fiction in literary works. They do not always obstruct each other and when harnessed depending on the ingenuity of the artist they can serve multiple purposes. The sociological socialist realism theory is used in this research work because real and factual events in Ezeigbo’s life are contained in her works. Ezeigbo make use of the Igbo setting.

There are names proverbs, idioms and practices that epitomize the Igbo culture and Igbo world view. Her works are linked between her fiction and her lived experience. The major source of her stories is her own direct experience through fiction. Oral Aesthetics is highly portrayed in Ezeigbo’s works in her constant use of songs, proverbs, lullabies and the Igbo cultural setting. This study has shown that Akachi Adimora Ezeigbo, a fictional writer wrote about her own personal experiences in her novels and short stories.


Table of Content


  • Title page
  • Certification page
  • Dedication
  • Acknowledgement
  • Abstract
  • Table of content

Chapter One

  • 1.1 Introduction
  • 1 .2 Definition of Terms
  • 1.3 The Last of the Strong Ones : A Synopsis
  • 1.4 The Relationship Between Facts and Fiction
  • 1.5 Research Problem
  • 1.6 Methodology
  • 1.7 Scope of Study and Limitation
  • 1.8 Justification
  • 1.9 Purpose of Study
  • 1.10 Structure of Thesis

Chapter Two

  • 2.0 Literature Review
  • 2.1 Issues Relating to Akachi Adimora — Ezeigbo’s Writings
  • 2.2 Aesthetics in Akachi’s Works.
  • 2.3 Adimora — Ezeigbo’s Formal Aesthetics Borrowings from the Oral Narrative Tradition.
  • 2.4 The Role of the Writer in Literature

Chapter Three

  • 3.1 Fact and Fiction in Akachi Adimora —Ezeigbo’s The Last of the Strong Ones and Children of the Eagle
  • 3.2 The Search for Self
  • 3.3 The War’s Untold Story: The Challenging Years of Youth
  • 3.4 Marriage and Family Life

Chapter Four

  • 4.1 The Aesthetics Residues of Facts and Fiction; An Example of Akachi’s The Last of the Strong Ones and Children of the Eagle .
  • 4.2 The Igbo Nuaces in The Last of the Strong Ones and Children of the Eagle

Chapter Five

  • 5.1 Summary of Findings and Conclusion of the Research Work
  • 5.2 Summary
  • 5.3 Findings
  • 5.4 Conclusion
  • Bibliography

Chapter Five


5.1 Summary of Findings and Conclusion of the Research Work.

Ezeigbo, like writers from other regions have utilized the novel as a medium to explore their vision in and about their societies. Always central to Ezeigbo’s works is the negotiation of space by women for proper integration in the affairs of their societies instead of being always located at the periphery.

The voice of Akachi Adimora — Ezeigbo in the African literary landscape is difficult to ignore. Having written three collections of short stories and three novels in addition to some children literature that are all prize-winning works, she is easily one of the most prolific writers in contemporary Nigeria. The novels of Ezeigbo used in this study are The Last of the Strong Ones (1996) and Children of the Eagle (2002).

Ezeigbo in her works recreates the beauty and dignity of the pristine African culture and realistically presents the ‘colour’ of life n the modern cities of an African nation emerging from colonial domination. In them, the tension between modernity andtraditionalism is unmistakable.

Akachi Ezeigbo is a self conscious writer who rejects negative sterotypes of women. She creates in her works female characters that are bold, articulate, intelligent and proactive. Such characters are not the type described by Helen chukwuma as “facile lack – luster human being, the quiet member of a house-hold, content only to bear children, unfulfilled if she does not, and handicapped if she bears only daughters” 131].Ezeigbo’s characters are the new women determined to have positive impact on society. She goes beyond the usual slogans and invectives at the male gender, but in a true womanist fashion, creates female characters that initiate change of some obnoxious traditional practices in society. She creates female characters who feel obliged to face the future on the basis of a harmonious coexistence with men.

Akachi Ezeigbo’s stories, as one can observe, are concerned with the immediate, touching many spheres of both traditional and contemporary Nigerian life and endeavours, especially as they affect women and other marginalized segments in society. Her novels are concerned with how society can be made better, and the author isconvinced that when men and women join forces they will go a long way in securing the future, and ensuring that redundant culturalvalues are dispensed with.


5.2 Summary

Chapter one of this research works gives a general background to the work. It covered the definition of literature according to different scholars. It also defined facts and fiction in literature and also the relationship between facts and fiction in literature. This chapter explained The Last of the Strong Ones(1996) with the synopsis of the novel. Ezeigbo combines facts and fiction in her novels to portray the Igbo culture and values to her readers. Through her fictional novels The Last of the Strong Ones(1996) and Children of the Eagle(2002) the author’s life and background is seen and exposed to the readers because they are facts of her life put into writings. This chapter also included the research problem, the research methodology, scope of study and limitation, Justification and purpose of the study.
The second chapter is the literature review of this research work and it covered the issues relating to Ezeigbo’s works such as:

Feminism/gender issues, culture and Aesthetics. The sociological theory is used in this research work because it explains Ezeigbo’s use of feminism in her novels used for this research study. The sociological theory is explained in this chapter with definitions fromdifferent sociologists. Ezeigbo’s formal Aesthetic borrowings from the oral literature tradition is explained in this chapter and the role of the writer in literature is also discussed.
The third chapter focused on the facts and fiction in Akachi Adimora-Ezeigbo’s The Last of the Strong Ones(1996) and Children of the Eagle(2002) The chapter is divided into sections to explain the writings of Ezeigbo. The search for self explains the childhood days of Ezeigbo. The war’s untold story tells us the challenging years of youth life. Marriage and family life tells us the story of Ezeigbo as a married pregnant corper and alsochallenges from her in-laws in the early stage of her marriage.

The fourth chapter focused on the Aesthetics residue s of facts and fiction. An example of Akachi Adimora — Ezeigbo’s The Last of the StrongOnes(1996 and Children of the Eagle. This chapter emphasized on the aesthetics of facts and fiction in Ezeigbo’s works. Ezeigbo uses historical facts by rewriting the past in her works. She also makes use of oral aesthetics of the Igbo culture to portray her origin. She uses reincarnation as an element of transmigration of her characters. Her works also contains Igbo Nuaces. This means that her novels can be said to be Igbo novels translated into English. Proverbs, lullabies, chants and festivals are elements of oral tradition used in her fictional works. The next item to be examined are the findings discovered during the analysis of the novels.


5.3 Findings

As a storyteller, Ezeigbo has deployed her narratives to creating a just society in which women are central to establishing a new mode of existence. Her female characters are thus, resourceful, determined, and resilient and when necessary, break through the barriers imposed by tradition on their sex, with their creators’ full endorsement, and take their stand by their men.

It is not difficult to locate the society depicted in these stories as Igbo. There are proverbs, idioms and practices that epitomize both Igbo Culture and Igbo worldview made popular in the early novels of Chinua Achebe and earlier writers. But Ezeigbo’s representations are metaphors for Africa. She creates new circumstances for African women as a way of helping them to search for and regain the social equilibrium lost during colonialism and a debilitating patriarchy.

Ubahakwe (1981) explains that the structure of Igbo names is better understood from the structure of the language. It should alsobe stated that Ezeigbo uses the naming patterns in the novel to project her gender bias. She states that a woman’s name plays important roles in the projection of her person and the symbol of her marriage. Naming in traditional societies is rated as a significant activity, and a woman is usually proud of her name. Ezeigbo has emphasized that, “there is nothing that identifies a person better than his/her name. Take away her name and a woman becomes an appendage and a non — person” (22)

The fictions of Adimora – Ezeigbo explore the desperate situations of female characters who straddle and inhibiting but fading traditional colonial heritage and a. modern postcolonial situation in which gender and social reforms are imperatives.

Ezeigbo’s works criticizes and entertains. Her works are also reflective and aesthetically appealing. They serve as warning and illuminating agents of social change.

Ezeigbo’s novels provide readers with commentaries and characters through which they can participate in gender debatesand through which they can reflect upon their own domestic right and roles.

Akachi is not out merely to clone Achebe. Indeed, what makes her venture of cultural retrieval especially unique and interesting is that, far from imitating her male predecessors, her real target in fact is to de-authorize their versions of history and identity politics. Fuelling her desire to write is a deep-seated compulsion, not just to dismantle and undermine the prevai1in male perspective, by substituting a carefully selected (and equally partisan) anthology of female counter — narratives.

Akachi’s use of reincarnation in her novels creates awareness about the relevance of female ancestry In her Children of the Eagle(2002), the returning ancestor is a symbol of female productivity, the continuity of a past that must be completed and rewarded. Reincarnation enables Ezeigbo to make sense of a world crossed by ‘fanished road’, and other religious beliefs.

Ezeigbo’s works links between her fiction and her lived experience. Based on available (auto) biographical evidence, it establishes that the major sources of her stories are her own direct experiences through fiction.

Oral Aesthetics is highly portrayed in Ezeigbo’s works in her constant use of songs, proverbs, lullabies and cultural settings. Without these oral elements, the aesthetics, in Ezeigbo’s works would be incomplete.


5.4 Conclusion

This research work exposes the renegotiation and regeneration of the existing crucial societal values for better use in modern Nigerian literature. Ezeigbo’s works reshapes, yet retains and preserves salient functional materials for the stability, sustenance and continuity of the Nigerian socio-political, ethno — geographical and economic society. This in essence is the dialectic development of the society. In other words, culture is not static but dynamically acting as the root and vehicle for advancement.

Ezeigbo, a fictional writer deals with her personal experiences in her novels. This genre of literature which includes facts and fiction enables the writer entertain her readers with real events and experiences. A story must contain facts and Ezeigbo include facts in her fictitious writings.

This study has covered Ezeigbo’s real experiences in her novels The Last of the Strong Ones(1996 and Children of the Eagle(2002).

In many traditional African societies, the narrated experience would definitely not pass for fantasy. The transitional phases between life and the hereafter are embodied by such concrete discourses and social narratives that belie the world of immediate experience.


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