Efuru

Efuru is unique for its time because it foregrounds the experiences of women in the domestic and public space—experiences that male writers from the same era and place (e.g., Chinua Achebe and Elechi Amadi) tend to relegate to the background of their novels.

One of the ways Nwapa accomplishes this is through dialogue. Most of the time, the female characters speak for themselves rather than having their speech or activities reported by others. The novel passes the Bechdel Test, which is a method of measuring the representation of women in a given film or other work of fiction: There are more than two named female characters, they talk to each other, and their conversation is about something other than a man. Although the women in Efuru often discuss the activities of their husbands, most of their discourse centers around the duties and experiences of motherhood. Efuru herself is also a frequent topic of conversation (and gossip) among the other women. Some conversations involve interruptions by children that the women must tend to. Although these topics of conversation reflect gendered expectations (pregnancy, fidelity, etc.), these expectations are intertwined with the women’s everyday experience. Even the unexpected shifts in dialogue paint a realistic picture of the multiple roles women must fulfill at any given time.

For a novel written in 1966 in a male-centric society, Efuru therefore stands as an early example of female representation. The extent to which the novel can be considered feminist by modern Western standards is debatable, but it was revolutionary for its time. Nwapa explores a number of ways in which Igbo society oppressed women, such as female circumcision, subservience to one’s husband, and the premium placed on one’s ability to bear children. Nwapa also demonstrates ways in which Igbo women had autonomy in the domestic, social, and economic spheres that Western women did not traditionally enjoy; Omirima and Amede suggest that work is a kind of privilege denied to wealthy white women.

Nevertheless, this autonomy would not be possible if the novel’s women did not work together. Even though Efuru is financially successful on her own, her well-being impacts—and is impacted by—those around her. She maintains relationships with Ossai and Ajanupu even after she marries Gilbert. Amede, who does not like Efuru at first, comes to consider her family. Nkoyeni calls Efuru “mother,” recognizing Efuru’s status as the first wife and a role model. These women share news, solve problems, and help each other with childrearing and childbirth. Most of all, they support one another and stand in solidarity against the men and women who wrong them. When Adizua abandons Efuru, the women stand by her; when she decides to leave his house, her mother and sister-in-law support her decision. When Omirima falsely accuses Efuru of adultery, the members of her age group go to the shrine with her to prove her innocence and Ajanupu protests to Gilbert so forcefully that it provokes a physical confrontation.

Omirima is the only example of a woman who antagonizes the other women. She even insults her friend Amede, telling her that she is not in control of her household. She is not punished for her actions because she remains a mother and an integral part of the community. Omirima therefore benefits from the solidarity that she does not participate in, underscoring its resilience. It is symbolic that Efuru returns to her father’s house at the end of the novel. Even though she no longer has a husband, the other women have not ostracized her, and one suspects that she will remain a well-respected and loved member of her community.