Writers in Third World countries that were formerly colonies of European nations debate among themselves about their duty to write in their native language rather than in the language of their former colonizer. Some of these writers argue that writing in their native language is imperative because cultural subtleties and meanings are lost in translation. For these writers, a "foreign" language can never fully describe their culture.
Choosing a Language
Achebe maintains the opposite view. In a 1966 essay reprinted in his book Morning Yet on Creation Day, he says that, by using English, he presents "a new voice coming out of Africa, speaking of African experience in a world-wide language." He recommends that the African writer use English "in a way that brings out his message best without altering the language to the extent that its value as a medium of international exchange will be lost. [The writer] should aim at fashioning out an English which is at once universal and able to carry his peculiar experience." Achebe accomplishes this goal by innovatively introducing Igbo language, proverbs, metaphors, speech rhythms, and ideas into a novel written in English.
Achebe agrees, however, with many of his fellow African writers on one point: The African writer must write for a social purpose. In contrast to Western writers and artists who create art for art's sake, many African writers create works with one mission in mind — to reestablish their own national culture in the postcolonial era. In a 1964 statement, also published in Morning Yet on Creation Day, Achebe comments that
African people did not hear of culture for the first time from Europeans. . . . their societies were not mindless, but frequently had a philosophy of great depth and value and beauty, . . . they had poetry, and above all, they had dignity. It is this dignity that African people all but lost during the colonial period, and it is this that they must now regain.
To further his aim of disseminating African works to a non-African audience, Achebe became the founding editor for a series on African literature — the African Writers Series — for the publishing firm Heinemann.
The Use of English
Achebe presents the complexities and depths of an African culture to readers of other cultures as well as to readers of his own culture. By using English — in which he has been proficient since childhood — he reaches many more readers and has a much greater literary impact than he would by writing in a language such as Igbo. Writers who write in their native language must eventually allow their works to be translated, often into English, so readers outside the culture can learn about it.
Yet by using English, Achebe faces a problem. How can he present the African heritage and culture in a language that can never describe it adequately? Indeed, one of the primary tasks of Things Fall Apart is to confront this lack of understanding between the Igbo culture and the colonialist culture. In the novel, the Igbo ask how the white man can call Igbo customs bad when he does not even speak the Igbo language. An understanding of Igbo culture can only be possible when the outsider can relate to the Igbo language and terminology.
Achebe solves this problem by incorporating elements of the Igbo language into his novel. By incorporating Igbo words, rhythms, language, and concepts into an English text about his culture, Achebe goes a long way to bridge a cultural divide.
The Igbo vocabulary is merged into the text almost seamlessly so the reader understands the meaning of most Igbo words by their context. Can any attentive reader of Things Fall Apart remain unfamiliar with words and concepts represented by chi, egwugwu, ogbanje, and obi? Such Igbo terms as chi and ogbanje are essentially untranslatable, but by using them in the context of his story, Achebe helps the non-Igbo reader identify with and relate to this complex Igbo culture.
Chi, for example, represents a significant, complex Igbo concept that Achebe repeatedly refers to by illustrating the concept in various contexts throughout the story. Achebe translates chi as personal god when he first mentions Unoka's bad fortune. As the book progresses, it gradually picks up other nuances. As discussed in the Analysis section for Chapter 3, the chi concept is more complex than a personal deity or even fate, another frequently used synonym. Chi suggests elements of the Hindu concept of karma, the concept of the soul in some Christian denominations, and the concept of individuality in some mystical philosophies. The understanding of chi and its significance in Igbo culture grows as one progresses through the book.
Another example of Achebe's incorporation of Igbo elements is his frequent reference to traditional Igbo proverbs and tales. These particular elements give Things Fall Apart an authentic African voice. The Igbo culture is fundamentally an oral one — that is, "Among the Igbo, the art of conversation is regarded very highly, and proverbs are the palm-oil with which words are eaten" (Chapter1). To provide an authentic feel for Igbo culture would be impossible without also allowing the proverbs to play a significant role in the novel. And despite the foreign origin of these proverbs and tales, the Western reader can relate very well to many of them. They are woven smoothly into their context and require only occasional explanation or elaboration. These proverbs and tales are, in fact, quite similar in spirit to Western sayings and fables.
Modern-day readers of this novel not only relate easily to traditional proverbs and tales but also sympathize with the problems of Okonkwo, Nwoye, and other characters. Achebe has skillfully developed his characters, and even though they live in a different era and a very different culture, one can readily understand their motivations and their feelings because they are universal and timeless.
Speech patterns and rhythms are occasionally used to represent moments of high emotion and tension. Consider the sound of the drums in the night in Chapter 13 (go-di-di-go-go-di-go); the call repeated several times to unite a gathering followed by its group response, first described in Chapter 2 (Umuofia kwenu. . .Yaa!); the agonized call of the priestess seeking Ezinma in Chapter 11 (Agbala do-o-o-o!); the repetitious pattern of questions and answers in the isa-ifi marriage ritual in Chapter14; the long narrated tale of Tortoise in Chapter 11; and the excerpts from songs in several chapters.
Achebe adds another twist in his creative use of language by incorporating a few examples of Pidgin English. Pidgin is a simplified form of language used for communicating between groups of people who normally speak different languages. Achebe uses only a few Pidgin words or phrases — tie-tie (to tie); kotma (a crude form of court messenger); and Yes, sah — just enough to suggest that a form of Pidgin English was being established. As colonialists, the British were adept at installing Pidgin English in their new colonies. Unfortunately, Pidgin sometimes takes on characteristics of master-servant communication; it can sound patronizing on the one hand, and subservient on the other. Furthermore, using the simplified language can become an easy excuse for not learning the standard languages for which it substitutes.
Achebe's use of Igbo language, speech patterns, proverbs, and richly drawn characters creates an authentic African story that effectively bridges the cultural and historical gap between the reader and the Igbo. Things Fall Apart is a groundbreaking work for many reasons, but particularly because Achebe's controlled use of the Igbo language in an English novel extends the boundaries of what is considered English fiction. Achebe's introduction of new forms and language into a traditional (Western) narrative structure to communicate unique African experiences forever changed the definition of world literature.
Pronunciation of Igbo Names and Words
Like Chinese, the Igbo language is a tonal one; that is, differences in the actual voice pitch and the rise or fall of a word or phrase can produce different meanings. In Chapter 16, for example, Achebe describes how the missionary's translator, though an Igbo, can not pronounce the Mbanto Igbo dialect: "Instead of saying 'myself' he always said 'my buttocks.'" (The form k means strength while k means buttocks.)
Igbo names usually represent meanings — often entire ideas. Some names reflect the qualities that a parent wishes to bestow on a child; for example, Ikemefuna means my power should not be dispersed. Other names reflect the time, area, or other circumstances to which a child is born; for example, Okoye means man born on Oye Day, the second day of the Igbo week. And Igbo parents also give names to honor someone or something else; for instance, Nneka means mother is supreme.
Prior to Nigerian independence in 1960, the spelling of Igbo words was not standardized. Thus the word Igbo is written as Ibo, the pre-1960 spelling throughout Things Fall Apart. The new spellings reflect a more accurate understanding and pronunciation of Igbo words. The List of Characters includes a pronunciation that uses equivalent English syllables for most of the main characters' names.