Follow Us on Google
By Ernie Onwumere
It would appear as if the passage of time tends to make some phenomena in life to become more timeless. The more time passes and things change, the more classical phenomena remain evergreen as if they just occurred yesterday. Such is the exemplary timelessness of legendary Chinua Achebe’s classic, Things Fall Apart, that, after 65 years of gracing universal reception, its content continues to taste like a freshly brewed palm wine.
Recently, the literary world commemorated the 65th anniversary of the most iconic masterpiece to come out of African literature, Things Fall Apart, a work of transgenerational relevance that provokes us to further interrogations of issues and characters thrown up by Achebe. As an Igbo culture activist, literary enthusiast and admirer of Chinua Achebe’s classical works, I welcome the opportunity to contribute my modest thought to the critical anniversary conversations, and the perspective of my intervention dwells on the character of Unoka, the father of Okonkwo, the protagonist in Things Fall Apart.
As well known, Things Fall Apart paints rich embroidery of African life and culture, delving into the complexities of human nature and the impact of colonialism. Among the multifaceted characters in the book, Unoka stands out as a figure who defies conventional or cultural expectations. Though many critics have dismissed and continue to dismiss him as weak, effeminate, indolent, hedonistic and irresponsible, Unoka’s character possesses hidden positive attributes that offer a profound commentary on the intricate dynamics of society and the individual. Through his characterisation of Unoka, Achebe challenges readers to reconsider their preconceived notions of strength and weakness, success and failure, hard life and soft life, ultimately humanising the marginalized and exploring the resilience of the human spirit.
We know that the supposedly ‘weak’ Unoka character is most often played up in contrast with his ‘strong’ son’s personality. Admittedly, Okonkwo is the exact opposite of his father Unoka in every ramification. We also know that Okonkwo is famous and highly respected in his Umuofia society for ‘solid personal achievements’ the same way some people in our contemporary society are also admired for their conventional achievements. Okonkwo’s fame, according to Achebe, ‘had grown like a bush-fire in the harmattan.’
Of course, the fame is attributed to his being a great wrestler who defeated Amalinze the Cat, a fearless warrior who accumulated human heads as trophies, a hardworking farmer who amassed barns of yams, a multiple title holder, a polygamist who had three wives and eight children, and a cruel man who ruled his household with iron hand. Okonkwo’s profile indeed aligns with cultural expectations of what success and masculinity entail in his society. But as his father Unoka has no such ‘masculine’ attainments, he is mocked as being an ‘agbala’, an Igbo term for a woman. The question is, is it really fair to treat Unoka as a total failure or villain despite his redeeming abilities that society considers ‘soft’ like a woman? I do not think it is fair.
First of all, let us consider a vital but overlooked positive lesson that Unoka brings to the table by the story of his farming failure. According to Chapter Three of the book, Unoka laments not getting any good harvest from his farming despite offering sacrifices to the gods. On consultation with the priestess of the Oracle of the Hills and the Caves, Unoka is heard lamenting thus: “Every year, before I put any crop in the earth, I sacrifice a cock to Ani, the owner of all land. It is the law of our fathers. I also kill a cock at the shrine of Ifejioku, the god of yams. I clear the bush and set fire to it when it is dry. I sow the yams when the first rain has fallen, and stake them when the young tendrils appear. I weed…’ At this point, the priestess interrupts Unoka and interjects thus: ‘And when a man is at peace with his gods and his ancestors, his harvest will be good or bad according to the strength of his arm. Go home and work like a man.’
What Unoka succeeds in doing in the foregoing excerpt is that he indirectly helps to expose the fact that the secret to farmers getting good harvest lies not in some exclusive supernatural acts of the gods, but in personal human efforts. Here lies a lesson for our today’s world where some Nigerians are so religious that they expect manna to fall from heaven by only aggressive prayers and sowing seed money in churches instead of going to work and do something that God will bless. However, despite the admonition of ‘Go home and work like a man’, I do not think Unoka is a weakling as such.
In traditional Igbo society, actions and habits that are acknowledged as abhorrent social ills include murder, stealing, adultery and the like. Unoka is not known to indulge in any of those social indignities. Of course, his weaknesses, such as indebtedness and love of pleasure, may not be socially acceptable behaviours, but they are not enough to write him off as a total weakling, villain or failure. Also, is he really lazy as widely portrayed? At least, he confesses making efforts like clearing the bush, sowing the yams, staking the yam tendrils and weeding. But as he doesn’t go all the way cutting down ‘virgin forests’ and crossing ‘seven rivers’ like the Okonkwos of Umuofia, I see Unoka not being successful in farming as a matter of his career interest, talent and passion lying elsewhere. Just as every human being is naturally gifted with unique, different abilities, passions and interests, Unoka has his own talent, ability and passion in music and he mastered it enough to be regularly invited by villages at festival periods.
Musical talent may be inborn, but developing and mastering it to global fame and fortune requires hard work and practice. If in doubt, ask our contemporary music stars in Nigeria like PSquare, Davido, Wizkid, etc., or even oldies like Bright Chimezie, King Sunny Ade, and so, on if they don’t work hard at their craft. So, musical entertainment is an occupation, a profession, which should be as respectable and valued as farming, but is less rewarding in Unoka’s time and society. In fact, if societies are switched and Unoka lives in modern-day Nigeria, he would be richer than Okonkwo the farmer; he would be a more famous celebrity than Okonkwo; he would marry or date more women than Okonkwo, and he would be a holder of more chieftaincy titles and national honours than Okonkwo. Are we not witnesses to the fabulous wealth, fame, adoration and influence that our music icons in contemporary Nigerian society and all other world command today?
So, Unoka in my opinion is not a failure like that and his most redeeming attribute is his deep appreciation for music, the arts and nature. A skilled and passionate musician, he embodies a sense of creative brilliance that transcends his material circumstances. Unoka’s mastery of the flute, coupled with his ability to compose enchanting melodies, demonstrates an artistic sensitivity that serves as a poignant contrast to the harsh realities of his surroundings. Achebe underscores the significance of Unoka’s musical talent by juxtaposing it against the societal obsession with power, dominance and materialism. Thus, Unoka’s musical flair becomes a poignant metaphor for the intangible and sublime aspects of life, which are often undervalued or overlooked in a society that discriminates between certain vocations, elevates overt material acquisitions over modesty, and equates hot temper to manliness.
By extension, contrary to prevailing notions of success and ambition, Unoka rejects the pursuit of material wealth and power. Instead, he finds solace in the simplicity of his existence, embracing a life of contentment and philosophical introspection. Unoka’s conversations with his son Okonkwo during a difficult farming disaster time reveal a profound understanding of the transient nature of life and the importance of personal relationships. Hear Unoka advising Okonkwo in Chapter Three: ‘Do not despair. It is more difficult and more bitter when a man fails alone.’ Through Unoka’s worldview, Achebe highlights the dangers of a society that values material accumulation above all else, cautioning against the loss of authentic human connection and spiritual fulfillment. Unoka’s quiet wisdom serves as a reminder that true strength lies not in exclusive physical prowess as displayed by men like Okonkwo but in the ability to find meaning in the face of adversity.
While Unoka is often regarded as weak and irresponsible by his community, a closer examination reveals a resilient spirit beneath his perceived shortcomings. Unoka faces numerous challenges, including financial struggles and societal disdain, yet he perseveres with an unwavering dignity. His resilience is evident in his unyielding pursuit of music despite the absence of immediate rewards or recognition. Moreover, Unoka’s resilience manifests in his ability to maintain a positive outlook despite societal pressures and personal setbacks. In a world that often measures success solely in material terms, Unoka’s resilience serves as a powerful reminder that one’s worth cannot be reduced to superficial achievements.
Another positive inference about the Unoka characterisation has to do with his embracing vulnerability and demonstrating emotional intelligence. His sensitivity to reason and emotional depth contrasts with the hyper-masculine brash traits emphasised in Okonkwo’s society. While Okonkwo suppresses his emotions, Unoka openly expresses his feelings, demonstrating the importance of vulnerability and emotional intelligence. For instance, in Chapter One, when his friend Okoye comes visiting him to recover his loan, Unoka is able to leverage both rational and emotional intelligence to explain his indebtedness and how he will repay his lenders. He tells Okoye to be patient as bigger lenders will be paid first. Okoye, a ‘successful’ man like Okonkwo, succumbs to Unoka’s intelligence and quietly leaves.
In another vein, Unoka’s lack of ambition is often criticised, yet it raises a crucial question about the consequences of unbridled ambition embodied by Okonkwo. Okonkwo’s relentless pursuit of success, driven by his fear of resembling his father and preventing his own son from doing so, ultimately leads to his tragic downfall. Unoka’s character serves as a cautionary tale, reminding us of the dangers of neglecting the joys of life in pursuit of societal expectations and conventional success. When Okonkwo fails in his overarching ambition to raise his son Nwoye in his own image and cannot stop the encroaching Christian influence, he ends up committing suicide.
In conclusion, Unoka’s character in Things Fall Apart defies traditional interpretations and offers valuable lessons and contemporary relevance. Unoka’s character prompts a reevaluation of traditional notions of masculinity. By going further to highlighting the value of emotional intelligence and vulnerability, Achebe challenges the toxic masculinity that persists in many societies today. Unoka’s portrayal encourages a shift towards a more balanced and inclusive understanding of masculinity. Also, by challenging conventional definitions of success, questioning the effects of inordinate ambition and promoting emotional intelligence, Unoka’s characterisation encourages readers to reevaluate their own values and priorities in life.
I must add here that there is also an element of fatalism demonstrated in the portrayal of the Unoka character. That is, beyond personal choices, destiny can play a part in human journey in life. As they say, what will be will be, no matter what you do or don’t do. This is evident in the words of Achebe in Chapter Three, and I quote: ‘Unoka was an ill-fated man. He had a bad chi or personal god, and evil fortune followed him to the grave…’ Despite Okonkwo’s fame and achievements that align with societal expectations, does he not also end up in tragedy when he commits suicide? So, fate plays a part in human experiences but it does not mean that we resign to fate and make no efforts at all. Above all, Unoka’s character prompts us to celebrate cultural diversity and embrace the beauty of our individuality. Everybody cannot be farmer, doctor, lawyer, engineer, pilot and so on. Our callings differ as our journeys through life. In this way, Unoka’s role in the novel becomes a lesson for personal and societal reflection, resonating with readers across time and culture. All said, despite my positive re-evaluation of Unoka the character, I neither recommend him nor Okonkwo as a role model. My prescribed ideal role model would be a blend of the good, moderate attributes in both Unoka and Okonkwo to yield a new character I choose to call ‘Unokwo’.
