25 Jul 2009

Sample Essay: Their Eyes Were Watching God :The Journey For Self

Zora Neale Hurston

“Theirs Eyes Were Watching God” by Zora Neale Hurston is a classic novel which was originally published in 1937, during the time of depression in America. This book is the best known work by the author, which is placed in Southern Florida in 20th century. It is one of the most controversial novels of the time. It has left its mark on the African-American literature as well as women’s literature. The references made to the African -American culture which is intertwined with deep inner search for horizon by young girl Janie Mae Crawford, “blossoming under the pear tree” in West Florida, is spectacular. This journey is the essence of the novel, in which cultural factors are beautifully integrated with conservative Christian faith, folk tradition and feminism. The dream and the romanticism of the young girl is captured with sensitivity and challenge. The title itself is on the surface very spiritual in expression, with insight and depth. Here the eyes are the true reflection of the soul, and the search for God is the search for the true self, in which the human spirit is merged. Janie, is young but has higher aspiration for finding true love, which she does find with God’s grace. She struggles for it , suffers for it and survives through the turmoil in her life before she truly finds and holds on to it. This is true love story which has drama, poetry and music all encompassed in her blissful experience under the “blossoming pear tree” where she finds her moment of inspiration.

Janie is born in a time when black women did not enjoy great privileges. This is a love story of a girl which is deeply rooted in the traditions which are followed by the folk culture in African-American society. The reality of the women’s life in black society was steeped in mythological traditions and observances. Janie, being raised by her grandmother was subjected to compromises regarding her life in the name of tradition; still she nurtures her dreams and finds an opportunity for escape from social prison -marriage to which she was subjected. She manages to get her voice heard after long struggle. And finally through her narration of her life’s story to Pheoby, her best friend she is wisely making her courageous journey for horizon known to the people of Eatonville, which she truly considers her home.

Janie’s quest for identity is the central theme of the novel in which her struggle with the society, dominant male position and inner search for deepest desires and feelings of sexuality is very well woven in the fabric of  20th century America. The division between the blacks and the whites still was very predominant on the social and political scene. The character of Janie Crawford has evolved through three marriages and finally she has settled on her own terms after the role of companionship has been dissolved in her solitary search of selfhood. Her journey for self is slow and gradual, moving towards her horizon of love and inner peace. She has the courage to strive for it, fight for it and struggle to get it. She identifies the true love of her soul and takes on the journey looking into the eyes for God. Her quest for identity leads her on the path which is a journey in which she finds real love, experiences genuine joys and sorrows, participates fully in them and finally comes home to herself in peace.

Her association with nature is her initial harmony with the reality in its pristine form. And, nothing less than real fulfils her quest. Her first mentor is nature, through which she learns her first lessons of sexuality observing the ‘bee on the blossom”, and hence she begins her journey. But before she could reach her horizon several relationships and social pressures overcast her life with compromise and commitment. She has to struggle through social relationships to embrace her real self. She does it beautifully with conviction and determination.

Her two marriages open the door to her greatest education on life. In her first marriage with Killicks she is used as an object of production almost diminished to the status of the mule-hard work and lack of love makes her question her identity and existence strongly. She knows in her heart she cannot live like this, she needs freedom and love to nurture her soul. She gathers courage to run away. This was her first step towards freedom and identity. Her marriage with Joe Starks lasted long for twenty years on mere physical and material needs. She is still not satisfied and never stops to dream and hope for something more which her heart searches around. After Joe’s death “her real journey begins, in search of partner of her choice with qualities not wealth, power or fame. Tea Cake is the person who pleases her inner desire for companionship. Tea Cake engages her completely in heart, mind and soul. He is the first man who allows her to be who she is. She blossoms in his company.

Her marriage with Tea Cake is the end journey for her in fulfilling her quest for love which is beautifully captured in these words “[Tea Cake] looked like the love thoughts of women. He could be a bee to a blossom – a pear tree blossom in the spring. He seemed to be crushing scent out of the world with his footsteps. Crushing aromatic herbs with every step he took. Spices hung about him. He was a glance from God.” (Hurston Chapter 11, pg. 101)

Here she experiences sublime love, but she gets this reward of true love with her courage and determination. Tea Cake is younger than her, he holds no position, and her success in love comes from struggle. She strives hard to change her destiny. She identifies in Tea Cake her intimate partner and does not bother to look into any other factors related to his life. She enjoys her extreme moments of joy and sorrow with him. He makes her feel complete and whole and she clings to this feeling which is ephemeral. And the climax is hit when she has to kill the man she loves and is charged with his murder. She faces the jury, in which black men do not support her but white women come forward for her rescue. She wins, she grows and she matures in the process. She looks for trust and faith and she gets that from unexpected sources. This is her moment of peace and final meeting at the horizon. She glows with inner confidence and light in her eyes because she has found her identity and reached her horizon. “Here was peace. She pulled in her horizon like a great fish-net. Pulled it from around the waist of the world and draped it over her shoulder. So much of life in its meshes! She called in her soul to come and see.” (Hurston Chapter 20, pg. 184)

This is powerful and inspiring narrative, which has mesmerizing impact on the minds of the reader. This is the story of fight of solitary woman through social structure, family pressure, male domination, racial discrimination and legal system. It is a tribute to a black woman, who, though constricted by the times, still demanded to be heard. She has a voice, which is timeless and true, she has found her source of blossom.

26 Jun 2009

Sample Essay: Role Of Women In"THINGS FALL APART"


Chinua Achebe ranks as the most famous  well read and influential of all contemporary writers. ‘Things Fall Apart’ ‘ his first novel  is a narrative dealing with the colonization of Africa by Europe and is told from the view point of the colonized people. First published in 1958, the book narrates the life of the warrior  and village hero Okonkwo, who is  the principle character of this book. It  describes the arrival of white missionaries to his Igbo village and their impact on African life and society at the end of the nineteenth century. Achebe, through his brilliant writing counters the images of African society and its people as depicted in Western literature and media, and goes on to  reclaim his own and his people’s history.

The narrative of Things Fall Apart is set in the period during  Europe’s violent partitioning of Africa at the end of the 19th century, and Achebe wrote and published the novel towards the end of the colonial period, during a time of burgeoning nationalism across Africa:

“African frustration was compounded by the inconsistency between, on the one hand, universalistic Christian ideals (for Christianity spread widely during the colonial period, as did Islam) and liberal political ideas which colonialism introduced into Africa, and, on the other hand, the discrimination and racism which marked colonialism everywhere. This discrepancy deepened during the Second World War, when the British and French exhorted their African subjects to provide military service and labor for a war effort which was intended, in part, to uphold the principle of national self-determination. Post-war Africans were well aware that they were being denied the very rights for which they and their colonial masters had fought.

This deepening sense of frustration and injustice set in motion the events which would lead to national independence for most of Africa by the mid-1960s” (“Issues in African History”).


Achebe, Chinua, “The African Writer and the English Language.” In Achebe, Chinua, Morning Yet on Creation Day: Essays. New York: Doubleday, 1975. 91-103.

Things Fall Apart. New York: Ballantine Books, 1959.


Majority of reviews and comments on Things Fall Apart have been focusing on Okonkwo, however in this paper, the discussion will be focused on  two major female characters, Ekwefi and Ezinma, and one minor figure, Ojiugo. The female characters of these book have so far been rarely discussed,if at alll, by other critics of the text, and when referred to, it is only in relation to Okonkwo’s actions or motivations. In this paper, we will examine the roles played by the women in a patriarchial society   according to their self-perceptions, as well as societal awareness of them as women, wives, mothers and daughters. Exploring the relationships between these women reveals not only alliances between mothers and their offspring, but also alliances between comrades in arms This paper will be done in three parts and the focus of my study will include:

(a)         Status of women in Achebe’s world.

(b)        Ekwefi, His second wife and Ojiugo, the third wife(a minor player).

(c)        Enzienne, the daughter of Okunuwa


The world in Things Fall Apart is one in which patriarchy intrudes oppressively into every sphere of existence. It is an androcentric world where the man is everything and the woman amounts to nothing of significance. In domestic terms, women are quantified as part of men’s acquisitions. Three things — wives, yam barns, social titles — are the highest accolades for the successful farmer, warrior, and man of worth. These possessions determine a man’s social status, as illustrated by Nwakibie who has three huge barns, nine wives and thirty children, and the highest but one title which a man can take in the clan (21).

The society described by  Achebe is  (1850-1900) an agrarian one in which the crop — the yam — is synonymous with virility. Achebe explains that this all-important crop [stands] for manliness, and he who [can] feed his family on yams from one harvest to another [is] a very great man indeed . . . . Yam, the king of crops, [is] a very exacting king (34-35). Consequently, to produce an abundant harvest, the traditional farmer needs a good workforce. Women constitute (and still do) the core of the rural workforce — farming, tending animals, nurturing children, among other activities. To echo the Nigerian critic Juliet Okonkwo,  Achebe’s cultural universe is one in which women [are] to be seen not heard, coming and going, with mounds of foofoo, pots of water, market baskets, fetching kola, being scolded and beaten before they disappear behind the huts of their compound (36). It would not be out of place to ally the existence of such women to that of other diasporic black women described by Zora Neale Hurston’s metaphor “mule[s] uh de world” (14). Indeed, Zora s Janie is robbed of her voice by her own husband Jody, who, like Okonkwo, chauvinistically believes that women s place is in the home (41), lumps together women and chillun and chickens and cows (67), and wants to be a big voice” (27) in the affairs of the community.


Ekwefi, Okonkwo’s second wife is portrayed as an insignificant person if viewed purely from the patriarchal standpoint, but when reexamined, her character emerges as that of a woman of  knowledge, love, and fierce independence.Throughout her life,  Ekwefi has endured much heartache and stigmatism. In Things Fall Apart (1969), women are viewed mainly as child bearers and help mates for their husbands. Due to the phallocentric notion that women must produce many hardy, male progenies to be valued within their cultural milieu, Ekwefi is considered a cursed woman because after ten live births, only one child – a daughter-survives. Thus, “By the time Onwumbiko was born, Ekwefi was a very bitter woman.”1 Accordingly, she resents the good fortune of the first wife: her ability to produce healthy, strong male children. Conversely, Culler (1982) asserts, “criticism based on the presumption of continuity between the readers’ experience and a woman’s experience and on a concern with the images of women is likely to become most forceful as a critique of phallocentric assumptions that govern literary works.”2 The conventional perspective of most readings of this text is that Ekwefi has been debilitated by life’s harsh circumstances. However, instead of continuing to lament her adversity, Ekwefi devotes her time and energy to the one child who does live, and finds solace in her relationship with her daughter.

While male readings indicate that “the man is the point of reference in this society” Palmer (1983) stresses that as child bearers, women are pivotal to the literal survival of community and societal norms.’3 After the death of her second child, it is Okonkwo, not Ekwefi, who consults the dibia to locate the source of her difficulty. It is also Okonkwo who confers with yet another dibia after the death of Ekwefi’s third child, highlighting Palmer’s contention that Ekwefi has failed, not because she cannot have a viable child, but because she cannot provide her husband with male progeny who would, then, carry on in his father’s name. Okonkwo is concerned about the deaths of the children, but impervious to Ekwefi’s privation. No one comforts Ekwefi as she is forced to watch the dibia mutilate her child, drag him through the streets by his ankles, and finally lay him to rest in the Evil Forest with other obanje children and outcasts. It is significant, though that Okonkwo does demonstrate concern for the female child, Ezinma, as he follows her into the forest after she is taken by the Priestess, Chielo.

Moreover, most readings of the novel do not address the brutal beating Ekwefi receives at the hands of Okonkwo: “Who killed this banana tree?” He asked. A hush fell over the compound immediately . . . Without further argument Okonkwo gave her a sound beating and left her and her only daughter weeping.”4The novel continues with a brief discussion of this continued abuse later when Okonkwo threatens Ekwefi with a gun after hearing her murmur under her breath. Yet, the next day, the New Yam Festival continues without a public outcry for this battered woman. Reading as a woman, one may understand Ekwefi’s resignation, as she recalls how she came to be Okonkwo’s second wife:

“Many years ago when she was the village beauty Okonkwo had won her heart by throwing the Cat in the greatest contest within living memory. She did not marry him then because he was too poor to pay her bride-price. But a few years later she ran away from her husband and came to live with Okonkwo.”5

Culler (1982) writes that “women’s experience, many feminist critics claims, will lead them to value works differently from their male counterparts, who may regard the problems women characteristically encounter as of limited interest.”6

Therefore, although a male critic may deem these events as minor instances, the feminist reader must note that there is, in these passages, a great sense of irony and regret. Preparing to attend her favorite pastime, the annual wrestling event, Ekwefi recollects her great love for the then impoverished Okonkwo. Although she was married to another man, Ekwefi’s desire for Okonkwo is so great that at the first opportunity she abandons her husband to be with him, yet a sound beating is the compensation she receives for her love and devotion. Although this brutality does not warrant any attention from the elders, Okonkwo’s flogging of his youngest wife, Ojiugo, does. There is a public outcry, not because of the physical battering, but, rather the timing of the occurrence – The Week of Peace: “You have committed a great evil’…It was the first time for many years that a man had broken the sacred peace. Even the oldest men could only remember one or two other occasions somewhere in the dim past.”7 Iyasere (1969) notes “the peace of the tribe as a whole takes precedence over personal considerations.”8He could have continued, elaborating that particularly in reference to women, the unanimity of the patriarchy is the main priority of the community, rather than the physical safety of its women.

Furthermore, there is no regard from the elders about Ojiugo’s condition; to the contrary, one elder boldly asserts that she is at fault, and thus, the beating itself is not the point of contention. Moreover, because Ekwefi is beaten after this week, there is no outrage beyond the intercession of the other two wives who dare say in support of their wounded sister, “It is enough.”9Communal events merely continue as normal. The great fight is fought, and new wrestling heroes are born. One may also wonder if while reflecting upon her life, Ekwefi is pondering the life of another young woman who has just decided that the new wrestling hero will become her husband, and the possible ramifications of such a decision. However, since Ojiugo is battered during the sacred week, Okonkwo must make a sacrifice to the earth goddess to recompense for himself and the community, which may be punished because of his dishonorable deed.

Culler (1982) notes that one strategy in the attempt to read as a woman is to “take an author’s ideas seriously when . . . they wish to be taken seriously.”11 There is, moreover, no week or even day of peace for the women of Umuofia. They cannot find sanctuary within the confines of their own homes, or in the arms of their own husbands.


There is one woman, or young girl who elicits pure love from all the lives she touches, even her father, Okonkwo. However, he cannot fully appreciate Ezinma as a person. Instead of admiring her for her strength and disposition as a burgeoning woman, Oknonkwo is saddened by the fact that she is not male.

Ezinma is Ekwefi’s only living child, and it is demonstrated that her father does in fact respect her character. When Okonkwo acknowledges these affections, a male reading may solicit a sense of alliance with him and wish, for his sake, that Ezinma were male: “She should have been a boy, he thought as he looked at his ten-year-old daughter . . . If Ezinma had been a boy I would have been happier. She has the right spirit. “12Reading the text from the male purview, one may empathize with Okonkwo who, because of the fates, has no child, except a daughter, worthy of conveying familial legacies. But because Ezinma is female, she cannot function in this capacity. Moreover, even a woman, in a traditional reading of the text would support this notion. Culler (1982) articulates that “what feminists ignore or deny at their peril . . . is that women share men’s anti-female feelings–usually in a mitigated form, but deeply nevertheless.” According to Culler this stems partly from the fact that women “have been steeped in self-derogatory societal stereotypes,” while being constantly “pitted against each other for the favors of the reigning sex . . . “13 While reading as a woman, one must acknowledge that women are also indoctrinated to envision the world from a patriarchal perspective, and that, in Ezinma’s case, one must revise these biases to appreciate her strength, singularity and vivacity.

Initially believed to be an obanje child who had only come to stay for a short period, after Ezinma thrives, she is pampered by her mother, and as the child who would be king if she were male. Ezinma is the embodiment of all the women in this novel represent: intelligence, vitality, and fortitude. Even in her relationship with her mother, Ezinma exhibits what Okonkwo, through his phallocentric lens, perceives as masculine tendencies:

“Ezinma did not call her mother Nne like all children. She called her by her name, Ekwefi, as her father and other grown-up people did. The relationship between them was not only that of mother and child. There was something in it like the companionship of equals, which was strengthened by such little conspiracies as eating eggs in the bedroom.”14

Ezinma calls her mother by her name, signifying the development of an autonomous, effectual being. Ezinma and Ekwefi share a bond that is unlike most other parental ties in the novel: they are virtually equals. Their affiliation is based on mutual love, respect, and understanding. They share secret moments, such as eating eggs in the confines of her bedroom (eggs are considered a delicacy), solidifying their esprit de corps, even after Okonkwo threatens them both. Culler (1982) notes that when analyzing one’s position as a female reader, “Critics identify (the) fear that female solidarity threatens male dominance and the male character.”15 Thus, this maternal connection becomes a caveat for Okonkwo and traditional society because he cannot control the depths of love and the shared enthusiasm between mother and daughter. This is most evident when, for example, Okonkwo forbids Ekwefi to leave her hut after Ezinma is carried off by the chief priestess. Ekwefi ignores her husband and risks a flogging to follow Chielo and her daughter throughout the night, until she is certain that her daughter will return home safely. When Okonkwo asks, “Where are you going?” Ekwefi boldly asserts that she is following Chielo.16 But instead of attempting to detain her, Okonkwo joins the journey, following from a safe distance, also to ensure the safety of his beloved child. This mother/daughter alliance is explicated throughout the text, though there is little discussion of it in most analyses of the novel.

One must acknowledge as well that male and female roles are societal constructs, and thus, the entire female identity is based more upon societal constraints rather than physiological realities. Women are taught to mother, while men are conditioned to dominate and control. Hence, we know that men may also read as women, if they are willing to rethink their positions, as well as women’s positions within patriarchal constructs. Culler (1982) writes “For a woman to read as a woman is not to repeat an identity or an experience that is given but to play a role she constructs with reference to her identity as a woman, which is also a construct…”17

As this constructed woman reader analyzes the characters of Ekwefi, Ojiugo, and Ezinma as major figures whose lives are not just affected by the whims of their father/husband, but also as women who affect their husband/father and each other, I believe that only when one consciously attempts to read as a woman, these formerly peripheral characters may be afforded proper critical attention by male/female readers of this great African novel.


Achebe, Chinua. Things Fall Apart. New York: Fawcett Crest, 1969.

Cary, Joyce. Mister Johnson. New York: W.W. Norton and Company, 1989.

Cook, David. African Literature: A Critical View. London: Longman, 1977.

Culler, Jonathan. On Deconstruction: Theory and Criticism after Structuralism. Ithaca: Cornell University Press, 1982.

Iyasere, Solomon. “Narrative Techniques in Things Fall Apart”. Critical Perspectives on Chinua Achebe. Ed. Killam, G.D. London: Heyman, 1969.

JanMohammed, Abdul. The Economy of Manichean Allegory: The Function of Racial Difference in Colonialist Literature. “Race,” Writing and Difference. Ed. Henry Louis Gates, Jr. Chicago: The University of Chicago Press, 1986. Pp. 78-106.

Perspectives on Chinua Achebe. London: Heyman, 1969.

Obiechina, Emmanuel N. Language and Theme: Essays on African Literature. Washington, DC: Howard UP, 1990.

Palmer, Eustace. The Feminine Point of View in Buchi Emecheta’s ‘The Joy of Motherhood’. African Literature Today. Ed. Eldred Durosimi Jones. New York: Holmes and Meier, 1983. Pp. 38-55.


Achebe, Chinua. Things Fall Apart. New York: Fawcett Crest, 1969. p. 76.

Culler, Jonathan. On Deconstruction: Theory and Criticism after Structuralism. Ithaca: Cornell University Press, 1982. p. 46.

Palmer, Eustace. The Feminine Point of View in Buchi Emecheta’s The Joy of Motherhood. African Literature Today. Ed. Eldred Durosimi Jones. New York: Holmes and Meier, 1983. p. 40.

Achebe, Chinua. Things Fall Apart. New York: Fawcett Crest, 1969. p. 39.

Achebe, Chinua. Things Fall Apart. New York: Fawcett Crest, 1969. p. 40.

Culler, Jonathan. On Deconstruction: Theory and Criticism after Structuralism. Ithaca: Cornell University Press, 1982. p. 45.

Achebe, Chinua. Things Fall Apart. New York: Fawcett Crest, 1969. Pp. 32-33.

Iyasere, Solomon. “Narrative Techniques in Things Fall Apart”. Critical Perspectives on Chinua Achebe. Ed. Killam, G.D. London: Heyman, 1969. p. 94.

Achebe, Chinua. Things Fall Apart. New York: Fawcett Crest, 1969.

Culler, Jonathan. On Deconstruction: Theory and Criticism after Structuralism. Ithaca: Cornell University Press, 1982. p.47.

Achebe, Chinua. Things Fall Apart. New York: Fawcett Crest, 1969. Pp. 61-63.

Culler, Jonathan. On Deconstruction: Theory and Criticism after Structuralism. Ithaca: Cornell University Press, 1982. p.53.

Achebe, Chinua. Things Fall Apart. New York: Fawcett Crest, 1969. p. 73.

Culler, Jonathan. On Deconstruction: Theory and Criticism after Structuralism. Ithaca: Cornell University Press, 1982. p. 54.

Achebe, Chinua. Things Fall Apart. New York: Fawcett Crest, 1969. p. 97.

Culler, Jonathan. On Deconstruction: Theory and Criticism after Structuralism. Ithaca: Cornell University Press, 1982. p. 64.

12 Jan 2009

Essays on The Second Sex

The rapid economic growth of the United State, Great Britain and other developed nations from the late 18th century through the middle of the 20th century began a stage of limited inclusion of women in roles beyond motherhood and laid the first seeds of the feminist movement.  These seeds began to bloom in full force in the aftermath of World War II, during which many women were forced to enter the workforce to support the war effort.  The image of Rosy the Riveter was born, proving women could work in many occupations formerly assumed to be only suitable for men.  Women have not forgotten.


Though Susan B. Anthony’s campaign for women’s suffrage (the right to vote) was much earlier, the formulation of modern feminist thinking can be traced to a remarkable woman in war-torn France: Simone Lucie-Ernestine-Marie-Bertrand de Beauvoir.  In the two-volume set of “The Second Sex,” de Beauvoir sets the stage for understanding the development of women throughout history (Book I – “Facts and Myths) and then evaluates the role of women in her society (Book II – “Woman’s Life Today).  Though these books were written in 1949, they show a clear philosophy which we can recognize as the birth of modern feminism.


In her dissertation, de Beauvoir argues that men and women viewing each other as competitive rivals is unnecessary and unhealthy for our society.  As a man, I have seen women who were Master electricians, police officers, firefighters, and to be honest, some of the greatest managers I have had the pleasure to work under.  I have no doubt in my heart de Beauvoir was right, though I know many still question this philosophy.  To me, this simply proves we still have a lot of work to do.


  • Why did de Beauvoir feel it necessary to begin with the history of women?  Could the context of “Woman’s Life Today” have been established another way?  Would it have been as effective?
  • Compare de Beauvoir’s arguments regarding the potential of women with the standing of women today.  What progress has been made?  What progress is still necessary? 
  • Does de Beauvoir’s depiction of feminism in 1949 reflect the current trends of feminism today?  What are the differences and why might they be present?


Evaluations of texts such as “The Second Sex” can be controversial.  Our writers are professionals in handling essays on such topics, evaluating the source material from a logical perspective that takes into account the reality of the subject matter and an ability to rationally project its impact upon society.  Students are not always taught such skills effectively and turn to companies such as ours for assistance.  We stand ready to assist you.  All we need is your order.

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