SEXISM, POVERTY AND FAMILY STRIFE: THE TRIPARTITE PLAGUE OF THE GIRL- CHILD IN SADE ADENIRAN S IMAGINE THIS

AN ASSIGNMENT IN ENG 745: LITERATURE AND GENDER

BY WATSON IFEOLUWA O. MATRIC. NO. 161267

SUBMITTED TO: LECTURERS IN CHARGE: DR T. JEGEDE & DR A. KEHINDE

FEBRUARY 2012

ABSTRACT
Since the overthrow of male dominance in African literature, African women writers have continued to carve a niche of writing that addresses the peculiar concerns and needs of the African woman in the society. In their explorations, there has been a consistent link between sexism and poverty in their works and this situates strongly the suffering of the African woman in the sphere of class stratification. In this essay, I attempt a Marxist Feminist critique of Sade Adenirans Imagine This; a study which reveals the social realities that inform the African girl-childs difficult experiences in a third-world African society.

INTRODUCTION
In the African society, very few women have access to power and privilege except via their connection to a man. Therefore, Marxist Feminists have championed female equality and womens rights, while regarding womens oppression as something that cannot be eradicated without overturning the capitalist social system that nurtures and sustains it. Marxist Feminists assert that womens liberation is bound up with the struggle against capitalism because in the real sense, sexual oppression serves the material interests of the ruling class. According to Mary Kolawole, Marxist Feminists maintain that gender justice is not possible while class stratification is not eliminated (12). This situates capitalist class relationships as the root cause of female oppression, exploitation and discrimination. Although, Feminism and Marxism hold two fundamentally incompatible worldviews; feminism is an ideology premised on the idea that the fundamental division in human society is between the sexes rather than social classes as held by Marxists. However, in the mediation of Feminism and Marxism, there has been a consideration of the peculiarities of underprivileged women in the lower class of the society especially in Third World countries. The degree of oppression and its consequences are qualitatively different for members of different social classes. Therefore, the experiences of poor rural women in Africa are quite different from those of the urbane rich women in Western countries and thereby their needs are equally different. The premises of Marxist Feminists are quite visible in many African womens writings since they project the realities that exist in the African society; they examine the ways in which the African woman strives to survive against the pangs of poverty that assails her family. Such writers and their works include Buchi Emechetas The Joys of Motherhood, Nawal El Sadawis Woman at
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Point Zero, Tsitsi Dangarembgas Nervous Conditions, etc. These novels portray resilient women who stand their ground firmly in the face of adversity, poverty and sexist prejudices in their society. Sade Adenirans Imagine This exposes the critical situation of the African girl-child in the midst of hunger, sexist exploitation and family strife.

Sexism, Poverty and Family Strife in Sade Adenirans Imagine This

On an initial perusal of Sade Adenirans Imagine This, one notices the glaring elucidation of poverty, societal deficiencies and political upheaval as existent in the Nigerian society which the novel typifies. The novel adopts the epistolary form; a style reminiscent of Alice Walkers The Color Purple, where the main character Celia writes her letters to God. Lola in Adenirans Imagine This, addresses her letters to Jupiter to express her angst and feelings of pain and suffering. Therefore, from the novels form, one gets an understanding of the psychological turmoil felt by the helpless forsaken child; because of Lolas inability to communicate effectively with her fathers family in Idogun, she resorts to live in another planet where her feelings may be understood in the right light. One of the foremost motifs in the novel is revealed in the conflict that ensues with Lola and her fathers family; the collision of tradition and modernity. Much of the strife and suffering which Lola undergoes at the beginning of the novel is informed by her inability to understand some peculiar traditional expectations. Adeniran is able to pass across the feelings of detachment that characterises the return of the native from the foreign lands. Lola suffers the language barrier she is unable to communicate lucidly with the other family members and she is often made the brunt of
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their jokes. Also due to her curiosity, she disobeys the elders and holds out a mirror to view Babas departing spirit. She does not also understand the African concept of polygamy and asks her father why a woman cannot also marry two husbands since a man can marry more than one wife. All these represent her inability to come to terms with traditional expectations at the beginning of the novel. The feeling of frustration felt by a displaced child seeking parental love and comfort is put forth strongly in the novel. The absence of maternal love becomes readily apparent as Lola is maltreated by Iya Rotimi and even Mama, her grandmother. Lola often dreams fervently to return to Lagos and live with her father and brother as a family once more. It seems unclear from the outset in the novel what informs the seething hatred felt for Lola by most of the women in her family except for Iya Dayo. They seem to just hate her for no just reason; although, later on in the novel, they situate their hate on her laziness, rudeness and rascality. Therefore, what proves jarring initially as a focal point in the novel is the dynamics of family relationships. Adeniran shows how the social and economic status of a family affects their relations to one another. First, one could situate Iya Rotimis hatred for Lola as being founded on her resentment of having to cater for her. Lolas father is seen as the privileged one who has gone abroad and is placed higher than the others in terms of enlightenment and riches. Therefore, Iya Rotimi does not see the sense in catering for the child of such a highly placed family member. Mamas hatred for Lola is quite strange and unreasonable given their direct kinship; it could be reasoned that Mama also resents Lola as an extra mouth to feed since she has the penchant for storing food for the rainy days ahead. Their feelings of hatred therefore can be seen as arising from their impoverished status as members of the poor class in the society. Lola also experiences reactions of hatred from Iya Foluso who

begrudges the help of her husband to a child whose father is richer than they are. This highlights the crucial importance given to social status in the society. The atmosphere of poverty influences a lot of Lolas suffering. Hunger is one of the notable markers of poverty in the novel. Lola relates poignantly: I never get dinner and I have to wash all the dirty plates when everyone has finished eating. When no-one is looking, I lick the plates because Im so hungry all the time. (19) The problem of poverty can be seen as the underlying force which informs the suffering of Lola and Adebola. In the first place, they would not have left London if their Father was earning enough to take care of them. Therefore, their move back to Nigeria signifies their downfall on the social ladder. The condition of housing is significant in identifying the social status of characters in the novel; there is a notable change in their housing conditions as their financial strength declines. When Lola goes on vacation to Lagos, she finds out that her father has moved to Orile-Iganmu into a face-me-I-face-you. Lola and her brother could have been saved from many of the hardships they encountered and in the case of Adebola, his life could have been spared if his father had enough money to care for his children. These issues in Adenirans Imagine This show the socialist concerns highlighted in the narrative. The issues of sexism and sexual exploitation of the girl child come into the fore first in the novel with the incidence of Dorcas getting impregnated by the schools principal. The concept of bottom power is highlighted here, that is, the usage of female body endowments so as to attain some material compensations such as money, marks (in school), means of livelihood, etc. In this particular case, Dorcas is a dull student who struggles to pass her subjects. Therefore, she falls as a vulnerable victim to the vices of the principal. It is shocking that the whole issue is swept under the
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carpet without the principal being punished for this heinous act of sexual exploitation. Rather, the principal uses his power to suspend Gbenga (Dorcas boyfriend) because he accuses him of his wrong doings. It should be noted that the only form of intervention that topples the principals decision comes in the form of the relations between the classes of the society. The Oba, a representative of the bourgeoisie brings the principal down literally; as he is made to prostrate in the dust with his full-piece white suit. This shows the stratification of society as not just limited to the urban cities but also being significant in rural settings such as the Idogun village. Thus, it is notable that the class of society one belongs to influences the kind of oppression one faces. When Lolas situation changes for the better and she was being sent to a coaching class for lessons by her father; at this point she is now a member of the elite upper class living in Ikoyi. The teachers in this setting do not abuse the female students because it would be unthinkable to offend such highbrow society people. Therefore, one can see the strong influence which class bears on female oppression in the society. It is most pitiable that Lola comes across the vice of sexual molestation from her own family member. Apart from the childish scuffle she had with Akin in school while in Idogun before she left for Lagos, she had never experienced sexual molestation from anyone. It is more excruciating for Lola since her molester was once a beloved uncle: ...I thought he loved me but clearly I was mistaken. I feel dirty and violated....What do I say? Uncle, why were you touching and sucking on my breast last night? If I tell anyone hell send me away and there is nowhere else for me to go, no-one else to pay my school fees... (177) Lolas dire situation is shown in her helplessness to react against her uncles molestation. It can be assumed that if Lola was not in the vulnerable position of depending on her uncle for her livelihood and education she could have protested against his unfair treatment. Also, Uncle Niyis
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turn from once loving uncle to molester can be linked to the financial/emotional drain in his life at this period. He had just been retrenched in his workplace and his wife also packed out of his home. So, one can identify the forces of societal factors influencing his character change in the novel. However, Lola does not remain silent against the forces of sexual molestation in all situations when she is confronted by Wale, a schoolmate who wants to forcefully have sexual relations with her. In this situation, Lola reacts violently: And in that moment I didnt care. It was as if someone had turned a switch in my head.... I knew there was going to be no saviour and if I couldnt save myself, I was going to make very sure he suffered with me.... So, I took his brothers baseball stick and started swinging at everything and anything. (134) In this incidence, we see a girl child who resolutely reacts against the exploitative power of the male; she lays a rightful claim to her body and the right to keep it from being used without her consent. One of the major concerns of Marxist-Feminists is the relation of the family institution to capitalism. This relation can be seen in Lolas situation as she is thrown out of her Uncles house and left without shelter for three days. Uncle Niyi is eager to take Iya Soji back because of her money so as to augment his low purse after his retrenchment. Therefore, the choice between familial responsibilities and survival is already made for him. He chooses to leave Lola at the gate of her Fathers house even when he is not sure of her being admitted into the house. Lolas suffering at this point reaches a high poignant level as one feels firsthand the travails of the abandoned child that is tossed from one family member to another. The leeway from Lolas suffering only comes from her inclusion or initiation into the upper class of the society. This brings to the fore the idea that the African woman can only be freed from
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oppression when she occupies a notable place in the rich class of society. Lola is rescued by Alhaja who knocks her down and who also lives in the posh area where her father resides. The intervention of Alhaji and Alhaja marks the change in Lolas situation; as from this point onwards, she receives better treatment from her family members. It is significant that Lolas father reaches out to his daughter after his neglect through monetary gifts: HE has been coming every day this week and each time he leaves me some money. Ive never had so much money in my life. At the last count it was five hundred Naira. But we still dont talk properly to each other. To be honest, I wouldnt even know what to say and thats sad. (209) This shows his inability to connect with his daughter psychologically and to assume the father role he had shunned beforehand by giving her out to family members to be reared. Therefore, he tries to compensate for his neglect by giving her more money. The death of Lolas father once more places her well-being in jeopardy. This highlights the crucial role of the male (father) figure in attaining financial freedom and stability in the life of a female child. And, it is notable that Lolas future is determined by her fathers thoughtfulness in bequeathing some of his property to her. Although, Lolas dependence is largely informed by her age and stage of education, it still stands to be noted that a male child would have had more chances to attain independence in the society depicted in the novel. It is quite ironic that the death of Lolas father is the turning factor which changes her life remarkably. Lola finds her wings to fly by laying claim to her fathers body and driving away the greedy relatives until she is ready to leave the country. Her independence at this stage in the novel is further heightened by her separation from Segun. She proves her resilience against any form of unjust male domination and
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she gives her virginity to him as a symbol of completion. In the novel, Adeniran creates Segun as a stereotype male who values eroticism above romantic love. In his character, the notion of a man will always be a man is shown. It proves that there is no absolute pure man who is not moved by sexual urges and possessing the weaknesses arising from such urges. It is also notable that Lola is able to evolve as the complete fully realised woman at the end of the novel without the intervention or involvement of a mothers love. Even when she was given her mothers phone number, she resolves not to pursue a reunion with her and starts a new life which is highly self-reliant. At the end of the novel, Lolas return to England serves as a realisation of her childhood dreams and prayers. Only she returns alone without her brother and father.

CONCLUSION Adenirans major preoccupation in Imagine This is largely tied to the suffering of the poor people in Nigeria; the corruption that existed in the socio-economic and political sphere in the 1980s and the evolution of the noveau riche at this period through chicane ways such as embezzlement, money rituals, drug trafficking, prostitution, etc. The crisis of class identity is portrayed in the novel with the characters fighting to stay in the middle class Uncle Niyi falls down rapidly down the ladder when he is retrenched and it is not surprising that he and other family members quickly swoop on their brothers property after his death. Therefore, Cookwoman also suffers from the capitalist influences on the family institution as the Ogunwoles family takes over her residence and lay claim to her husbands property. Lolas move to London at the end the novel symbolises her establishment into the bourgeois social class. In that class, with her money and means she cannot be oppressed by the male folk. She
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actually shows off her new economic and emotional independence by going off in her fathers car to bid Segun adieu. However, Lolas return to London raises some critical questions what happens to the poor woman in the African (Nigerian) society? Does the African womans freedom only come from the change in her social class or status? Does this imply that for the African woman, no money no freedom? These are salient questions which need to be considered towards the ultimate realisation of truly empowered and liberated African women in the African society.

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WORKS CITED
Adeniran, S. 2009. Imagine this. Abuja: Cassava Republic Press

Kolawole, M.E.M. 1997. Womanism and the African consciousness. Africa World Press, Inc.

Marxism, feminism and womens liberation. Retrieved 7th December 2011 from www.bolshevik.org/1917/no19fem.pdf

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