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Chinua AchebeA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Uchendu, the man who greeted Okonkwo when he last visited Mbanta after his mother’s death, greets him and his family again. He guesses the circumstances of their arrival and waits for Okonkwo to tell him the story of his female crime.
The village gives Okonkwo’s family a plot for a compound and some land to farm. Uchendu’s family contributes labor and seed-yams. After “two or three months,” during which “the sun had been gathering strength till it seemed to breathe a breath of fire on the earth,” the heat wave breaks and the rains arrive (130). This refreshment brings the earth “to life” and disseminates “a vague scent of life” (130).
Life in Mbanta is “like beginning life anew without the vigor and enthusiasm of youth, like learning to become left-handed in old age” (131). Work is no longer pleasurable without the goal of becoming “one of the lords of the clan,” the goal that always motivates Okonkwo (131). Noticing Okonkwo’s bleak attitude, Uchendu decides to speak with him after his son’s final marriage ceremony, or isa-ifi.
At the large family isa-ifi, Uchendu’s oldest daughter interrogates the young bride about her sexuality, making her swear that she has never lain with another man. After the oath, Uchendu takes the hen that the bride brought and slits its throat, at which point the marriage is complete and the young woman moves to Uchendu’s house.
Uchendu gathers his children and Okonkwo, his nephew, to impart wisdom to them. After asking myriad questions, primarily to Okonkwo, he affirms why Okonkwo could find refuge in Mbanta: “When a father beats his child, it seeks sympathy in its mother’s hut” (134). In other words, when “sorrow and bitterness” come to the fatherland, a man should find refuge in his motherland (134). “Mother is supreme,” then, and under her power, he should not “refuse to be comforted” but comfort his family and move forward before the burdens of the past weigh him down (134). Uchendu affirms that all feel pain and that Okonkwo’s certainly is not the greatest; he finishes with the song sung when a woman dies: “ For whom is it well, for whom is it well? / There is no one for whom it is well” (135).
Two years into Okonkwo’s exile, Obierika visits him. Uchendu, aware of Obierika’s visit, is waiting when they arrive at his home. After introductions, Uchendu reveals that he knew Obierika’s father, Iweka, back in the “good days when a man had friends in distant clans” (137). They share palm-wine and kola nuts.
Obierika brings the news that Abame, a nearby clan, “has been wiped out” (138). During the previous planting season, a white man, not an albino, arrived on “an iron horse” and encouraged the people of Abame to touch and interact with him. Their Oracle warned against the man, and so the villagers killed him and trapped his horse. But the Oracle also warned that more white men would come, that “they [are] locusts” (139).
Eventually, three more men came, escorted by men “like us” (139). They saw the horse and left. Then, on a market day, these men returned and their followers surrounded the market; they were visible only at the last minute, when “they began to shoot” (139). Only a few survived; “their clan is now completely empty,” and “a great evil has come upon their land” (140).
Uchendu, angry, exclaims that no one should kill a man who, like the white man, “says nothing” (140). He believes that, because they killed the white man without knowing his story, they are “fools” (140). Okonkwo agrees but feels that they are fools because they remained unarmed. Obierika instead focuses on his own fear. He knows stories of white men’s “powerful guns” and “strong drinks” and slavery, but “no one thought they were true” (141). To Uchendu, though, “there is no story that is not true” (141).
Okonkwo and Obierika share a meal in Okonkwo’s home. Obierika passes on greetings to Nwoye from his friend at home. As they exchange news, Obierika explains the two baskets of cowries that he brought to Okonkwo’s home: they are the profits from Okonkwo’s yams, which Obierika sold. Okonkwo asks how he can thank Obierika, who responds that Okonkwo can kill himself or one of his sons; this silences Okonkwo, who concedes and ceases to discuss his thanks further.
Two years later, Obierika visits again and tells of the missionaries who have settled in Umuofia. Some efulufu, or “worthless, empty men,” have converted to Christianity, though most of the respected men in the clan believe that “the white man’s god [will] not last” (143).
Obierika is concerned and comes to speak with Okonkwo when he discovers Nwoye spending time with the missionaries. He confronts Nwoye after he passes the “many difficulties the missionaries […] place between them” and asks the boy why he is with the missionaries; “unhappily,” Nwoye responds that he does not know Okonkwo, who is “not [his] father” (144). This concern prompts Obierika’s visit to Okonkwo.
The narrator then tells the story of Nwoye’s conversion. When Christians first visit Mbanta, using Ibo men from far away (and speaking in strange accents) to translate, they transfix Mbanta. A missionary appeals to Mbanta’s people to “leave [their] wicked ways and false gods” (145). When the white man reveals that he has come to live in the village, they become excited and curious.
The white man gives an answer to each question about ancestors and polytheism. But the men of Mbanta respond with “derisive laughter” (146). Yet, when they break into “one of those gay and rollicking tunes of evangelism,” it “[plucks] at silent and dusty chords in the heart” of the Ibo men (146). Men stay to hear the missionaries speak, but by the end, Okonkwo is still “fully convinced that the man [is] mad” (147).
Nwoye, though, is entranced. He finds “poetry” in this new religion and identifies with it in his “marrow” (147). The hymn is like pouring “drops of frozen rain melting on the dry palate of the panting earth […] into his parched soul” (147).
The full and undeniable arrival of the white man comes once Okonkwo and his family leave Umuofia. Okonkwo sets about adjusting to his new life, particularly with the encouragement of the wise Uchendu, but the white man irrevocably disrupts this settlement. Uchendu’s song foreshadows the unendingly unsettled life that Okonkwo faces: “ For whom is it well, for whom is it well? / There is no one for whom it is well” (135).
The role of the woman and of the wife shifts as Okonkwo’s extremely confident masculinity recedes. Ceremonies surrounding the blessing of a wife continue in Mbanta as they had in Umuofia, marking time and drawing the community together. Okonkwo listens when Uchendu welcomes him with the idea that “mother is supreme” (134). One of the village’s ultimate grievances with Jesus Christ is his lack of a wife; something, it seems, is out of balance without women in a social structure, highlighting Religion as Politics.
At the same time, Christianity does give Nwoye a kind of spiritual experience. Though the villagers in Mbanta largely scoff at the logic that rejects their gods and ancestors, for Nwoye the words and songs are “drops of frozen rain melting on the dry palate of the panting earth” (147). While Obierika and Okonkwo latch onto the Abame Oracle’s warning that white men “[are] locusts,” Nwoye views their descent from the sky as similarly dramatic but far more necessary (139).
Like Okonkwo, Nwoye comes to reject his father, highlighting the complexity of The Bond Between Fathers and Sons. Motherhood is upheld as essential, the foil to an abusive father or fatherland. This pattern of rejecting one’s father produces extreme characters in Okonkwo’s family: men who are, in different ways and with different expressions, inclined to reject tradition considering their frustrations with their fathers.
By Chinua Achebe