'The Ministry of Utmost Happiness' by Arundhati Roy

Hello Readers!   This blog is a part of a thinking activity assigned by Dilip Barad Sir from The English Department, MKBU, Bhavnagar.

Arundhati Roy:

Arundhati Roy  is an Indian novelist, political activist. She is best known for her first novel The God of Small Things which won the Man Booker Prize for Fiction. She was also awarded with the Sydney Peace Prize in 2004.

Roy's father worked as a Bengali tea planter, while her mother, a Christian of Syrian descent, challenged India’s inheritance laws and won the right for Christian women to inherit equally from their fathers’ estates. Despite being trained as an architect, Roy was more interested in pursuing a writing career than in design. After various odd jobs, such as being an artist and aerobics instructor, she co-wrote and acted in the film "In Which Annie Gives It to Those Ones" (1989). Later, she wrote scripts for "Electric Moon" (1992) and several TV dramas. Although her films gained her a loyal following, controversy interrupted her literary pursuits when she criticized Shekhar Kapur’s film "Bandit Queen" in two newspaper articles in 1995. This led to a court case, prompting Roy to withdraw from public life and focus on writing her novel. In 1997, Roy released her debut novel, "The God of Small Things," which received widespread praise. Departing from conventional plots and light prose, the semi-autobiographical novel was acclaimed for its lyrical language and exploration of South Asian themes and characters. It became the highest-selling book by a non-expatriate Indian author and won the prestigious Man Booker Prize for Fiction in 1998.

Roy's subsequent literary works mostly consisted of politically charged nonfiction, addressing the challenges faced by India in the era of global capitalism. She published numerous books, including "Power Politics" (2001), "The Algebra of Infinite Justice" (2002), "War Talk" (2003), "Public Power in the Age of Empire" (2004), "Field Notes on Democracy: Listening to Grasshoppers" (2009), "Broken Republic: Three Essays" (2011), and "Capitalism: A Ghost Story" (2014). In 2017, she returned to fiction with "The Ministry of Utmost Happiness," blending personal narratives with contemporary Indian issues through a diverse cast of characters, including a transgender woman and a Kashmiri resistance fighter.

About Novel:

‘The Ministry of Utmost Happiness' is the second novel by Indian writer Arundhati Roy, published in 2017, twenty years after her debut, ‘The God of Small Things’. The novel is originally written in English, it falls within the genre of fiction. The novel, spanning 449 pages, was published by Hamish Hamilton (UK & India) and Alfred A. Knopf (US), immersing readers into a narrative set predominantly in India, with glimpses into parts of Canada as well

‘The Ministry of Utmost Happiness,’ penned by Indian writer Arundhati Roy, is a sweeping tale that intertwines multiple characters and plotlines to capture the chaotic landscape of present-day India. At its heart, the novel delves into themes of social inequality, political unrest, and the quest for identity and acceptance. It follows the journeys of diverse individuals, including Anjum, a transgender woman navigating life in Delhi; Tilo, shrouded in enigma from her past; and Musa, a fighter for Kashmiri independence. Through their intertwined narratives, Roy presents a vibrant tapestry reflecting the intricacies and disparities of Indian society, while addressing issues like caste discrimination, religious conflicts, and environmental decay. Praised for its poetic prose, well-developed characters, and insightful commentary on contemporary India, the novel stands as a compelling exploration of the nation's complexities. The novel weaves together the stories of people navigating some of the darkest and most violent episodes of modern Indian history, from land reform that dispossessed poor farmers to the Bhopal disaster, 2002 Godhra train burning and Kashmir insurgency. Roy's characters run the gamut of Indian society and include an intersex woman (hijra), a rebellious architect, and her landlord who is a supervisor in the intelligence service. The narrative spans across decades and locations, but primarily takes place in Delhi and Kashmir.

1]How is intertextual references to the other writers in the novel connected with the central theme o the novel? (Visit My Blog)

2] What is the symbolic significance of Vulture and Guih Kyom (Dung Beetle) in the novel?

Vultures:

Vultures are crucial to ecosystem health, acting as vital scavengers. Their main job involves consuming carrion, or dead animals, which helps keep the environment clean and prevents the spread of diseases linked to decaying carcasses. By efficiently recycling nutrients and preventing the buildup of organic matter, vultures play a key role in maintaining the balance and well-being of their habitat. In the novel, vultures hold deep symbolic significance beyond their ecological role. They symbolize more than just their function in nature. Instead, they represent the decline of critical thinking and cultural diversity, influenced by nationalism. The story begins with the decline of vultures, particularly the white-backed vultures, who have long been guardians of the deceased. Their extinction, caused by diclofenac poisoning from cow-aspirin, serves as a poignant symbol for the simultaneous decline of intellectual and artistic protectors of culture and tradition.

In the narrative, Roy draws a parallel between the physical decline of vultures and the metaphorical demise of individuals who question, create, and challenge societal norms. Writers, artists, journalists, and others entrusted with preserving memory are depicted as falling victim to a metaphorical poisoning, losing their capacity to question and resist. The decline of vultures is linked to a rigid adherence to nationalist ideology, which suppresses diversity and dissent. Their demise serves as a powerful symbol reflecting the central theme of the novel, illustrating the consequences of nationalist discourse that erases differences and diminishes the rich cultural tapestry of diverse communities. Roy utilizes this symbol to express her concern about the influence of nationalism on intellectual independence and cultural diversity. By starting the novel with this thought-provoking commentary, Roy emphasizes the dangers of blindly conforming to a single narrative. 

Gui Kyom (Dung Beetle): 

Gui Kyom, the dung beetle, offers a contrast to the symbolism of the vulture. It symbolizes strength and potential for transformation. Dung beetles are known for their skill in turning waste into something useful, enriching soil for plant growth. In the story, Gui Kyom is linked with Anjum, a transgender woman who finds beauty in unconventional circumstances. This connection highlights resilience and optimism, even in the face of challenges. These animal symbols are like hints throughout the story. The vulture tells us about the bad stuff, but Gui Kyom reminds us that things can get better. The story makes you think about life, death, and how society works. It shows that even when things are falling apart, there's always a chance to start fresh. That's the real message of the book: even in the midst of problems, there's hope for change and new beginnings.

3] Instead of privileging the center stage, 'The Ministry of Utmost Happiness' shifts the spotlight to the back alleys and hidden corners, granting agency to those typically relegated to the sidelines. Analyze how Roy's decision to center the periphery enriches our understanding of social, political, and existential realities often ignored by mainstream narratives.

Arundhati Roy's book "The Ministry of Utmost Happiness" stands out because it shines a light on individuals often overlooked or marginalized in narratives. Instead of centering on the most prominent or conventional characters, Roy delves into the lives of those typically sidelined - such as transgender individuals, hijras, and Dalits. Through this approach, she emphasizes the significance of everyone's experiences and highlights the diverse fabric of society.

The Hijras: In "The Ministry of Utmost Happiness," Arundhati Roy shines a light on the hijras, a transgender community often pushed to the margins in South Asia. She doesn't just mention them; she dives deep into their rich traditions, rituals, and the everyday battles they face for acceptance. These hijras aren't simply characters - they become symbols of strength. They defy expectations, challenge what society deems "normal," and fight for their place in the world. The hijras in the novel serve as a symbol of resilience and resistance, challenging gender norms and societal expectations.

Anjum: In "The Ministry of Utmost Happiness," Anjum takes center stage. A transgender woman in Delhi, she defies societal norms by carving out her own space, quite literally, in a cemetery. Her story isn't just about finding a home, though. It delves into the harsh realities faced by transgender individuals in India – discrimination, violence, and a constant struggle for acceptance. Yet, Anjum embodies resilience and resourcefulness. She builds a community, a haven for others like her, and fights for her right to exist and be seen. Anjum's narrative sheds light on the resilience and agency of transgender individuals, as well as the complexities of identity and belonging.

Tilo: Tilo is another central character who is involved in various political and social movements throughout the novel. Her narrative intertwines with those of other marginalized figures, underscoring the interconnected nature of their struggles. Tilo's journey mirrors the broader political and social fabric of India, addressing themes such as religious strife, political corruption, and  environmental degradation.

The Kashmir Conflict:  In "The Ministry of Utmost Happiness," Arundhati Roy tackles a sensitive topic: the Kashmir conflict. This is a long-running fight between India and Pakistan over a piece of land called Kashmir. Instead of focusing on politics or military actions, tells the stories of the people caught in the middle - Kashmiri militants and everyday citizens. Roy explores the human cost of the conflict and its impact on the lives of those living in the region.

These examples illustrate how "The Ministry of Utmost Happiness" prioritizes the experiences of marginalized characters, exploring the social, political, and existential hurdles they encounter. By giving voice to these characters and sharing their narratives, Roy disrupts prevailing narratives and offers a richer, more nuanced portrayal of Indian society.

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'The Ministry of Utmost Happiness' by Arundhati Roy

Hello Readers!   This blog is a part of a thinking activity assigned by Dilip Barad Sir from The English Department, MKBU, Bhavnagar.

1] How is the intertextual references to other writers in the novel connected with the central theme of the novel? [also mention the epigraphs in English & Hindi]

Visit the blog of Dilip Barad sir for better understanding. (Click Here )

Introductory presentation on 'The Ministry of Utmost Happiness' by Arundhati Roy.

In Arundhati Roy's book "The Ministry of Utmost Happiness," there are twelve chapters divided into six parts. Each part starts with a short quote, called an epigraph, from different poets and writers. These writers, like Roy, faced tough times – some were jailed, others were forced out of their homes, and some even died. They were mistreated because of their skin color, who they loved, or how they identified. But they stayed strong. These quotes at the beginning of each section set the mood for the book and show how these writers, including Arundhati Roy, faced challenges with bravery and determination.

As a student I find this element most interesting in the novel the way writer intertwines multiple stories and poem of other writers to navigate the darkest reality of modern India. Arundhati Roy skillfully portrays the historical elements in this novel.

1) I mean, it's all a matter of your heart...(यानी सारा मामला दिल का है...)

Nâzim Hikmet

This quote comes before the 1st chapter title 'Where Do Old Birds Go to Die?' The first quote, "I mean, it’s all a matter of your heart," comes from Nâzim Hikmet’s poem “On the Matter of Romeo and Juliet.” In Arundhati Roy’s writing, she links Romeo and Juliet to the Arabo-Persian tale of Laila and Majnun, illustrating how stories and cultures merge beyond borders. She emphasizes how authors from different backgrounds influence one another, disregarding boundaries and notions of superiority. Through her character Anjum, who plays with language to hint at her gender and advocate for inclusivity, Roy contrasts Anjum’s cemetery, where the rejected find solace, with India's segregated burial grounds. Ironically, Anjum’s cemetery symbolizes a diverse, inclusive India from the past.

2) In  what language does rain fall over tormented cities? (बारिश किस भाषा में गिरती है यातनाग्रस्त शहरों  के ऊपर ?)

Pablo Neruda

The quote from Pablo Neruda precedes the third chapter titled 'The Nativity'. Pablo Neruda, a poet who faced exile and accusations of assassination under the Pinochet regime, serves as a poignant reminder of resistance against oppressive forces. Despite Pinochet's refusal to allow a public funeral for Neruda, a defiant funeral procession ensued, echoing the fervent protests witnessed during the burial of Kashmiri martyrs in Roy's novel.

In Roy's narrative, these burials represent a form of protest against the indifference of occupying forces, who often leave corpses unburied along the Line of Control in Kashmir. Beyond this specific context, the novel delves into broader themes of mourning and the treatment of marginalized communities, exemplified by the tragic plight of vultures and the mistreatment of Untouchable cow skinners by Hindu mobs. Roy draws from Neruda's last book, "Libro de las Preguntas" (The Book of Questions), particularly focusing on a question about rain falling on tormented cities. This imagery resonates with the diverse landscapes depicted in India, reflecting Roy's attention to language and cultures. Her narrative style, which includes formal experiments like mock multiple-choice questions and reading comprehension passages, underscores her exploration of diverse perspectives and experiences.

3) Death flies in, thin bureaucrat, from the plains”, a fit frame for the third “section"

[ मौत एक छरहरी नौकरशाह है, मैदानों से उड़कर आती हुई - आग़ा शाहिद अली ]

The third epigraph quotes the first line of one of Agha Shahid Ali’s Kashmiri poems, “Death flies in, thin bureaucrat, from the plains”, a fit frame for the third “section”, narrated by “The Landlord”, a cold and somewhat cynical servant of the State.

The epigraph, drawn from Agha Shahid Ali's Kashmiri poem, sets the stage by introducing themes of imminent death and bureaucratic indifference. This quote effectively establishes the backdrop of the oppressive political landscape in Kashmir and the struggles faced by the characters embroiled in the conflict. It aptly establishes the tone for the third section of the novel, narrated by "The Landlord," a character characterized by their cold and somewhat cynical allegiance to the State. Agha Shahid Ali, having left Kashmir for the USA at a young age, experienced the anguish and devastation of his homeland from a distance. His renowned collection, "The Country Without a Post Office," which includes the quoted poem, has served as a source of solace and inspiration for many Kashmiris. Ali's influence reverberates in the works of Kashmiri writers since his passing in 2001, evident either through direct quotations and epigraphs or subtly woven into narratives like Roy's novel. In a poignant scene depicted by Roy, mourners at a funeral are forced to flee from gunfire, leaving behind the dead and wounded, as well as "thousands of shoes." This vividly captures the harrowing reality of the conflict and underscores the depth of human suffering experienced in Kashmir.

4) Then, as she had already died four or five times, the apartment had remained available for a drama more serious than her own death.

"क्योंकि वह पहले चार या पाँच बार मर चुकी थी, अपार्टमेंट उसकी मृत्यु से भी ज़्यादा गंभीर किसी नाटक के लिए उपलब्ध था। - ज्याँ जेने"

The fourth epigraph quotes Jean Genet's novel "Notre-Dame-des-Fleurs," highlighting the gravity of a drama surpassing death.

The quote from Jean Genet's novel speaks to the recurrent theme of death and drama, suggesting that the characters in the novel face challenges and conflicts surpassing mere mortality. This echoes the complex and intense nature of the characters' lives.

Jean Genet's novel "Notre-Dame-des-Fleurs" and his life experiences unexpectedly intersect with the themes of "The Ministry of Utmost Happiness." Genet's tumultuous life, marked by suffering, imprisonment, and activism, mirrors the struggles depicted by Roy in her characters and political messages. His innovative narrative style, blending various genres and defying categorization, likely inspired Roy's intricate storytelling. "The Ministry of Utmost Happiness" incorporates elements of comedy, satire, tragedy, and poetry, with shifting perspectives and a non-linear timeline, echoing Genet's narrative experimentation. Genet's influence is particularly evident in the portrayal of transgender individuals and the exploration of the boundaries between life and death. The integration of diverse themes and narrative techniques enriches Roy's examination of complexity within her novel.

5) _And they would not believe me precisely because they would know that what I said was true." - from The Fire Next Time by James Baldwin.

[ और वे मेरी बात पर सिर्फ़ इस वजह से यक़ीन नहीं करते थे की

वे जानते थे कि मैंने जो कुछ कहा था वह सच था। - जेम्स बाल्डविन ]

The fifth epigraph is quoted from James Baldwin’s essay entitled “Down at the cross. Letter from a Region in my Mind”, which offers a set of reflexions on race relations in the USA, many of which, alas, would still be relevant nowadays. When read in the light of caste relations in India, many of those reflexions also seem perfectly relevant.

This quote comes before the 9th chapter titled 'The Untimely Death of Miss Jebeen the First'. The fifth quote is from James Baldwin's essay "Down at the Cross: Letter from a Region in My Mind," which discusses race relations in the USA, still relevant today. When applied to caste relations in India, Baldwin's reflections remain pertinent. The quote addresses the denial people face when confronted with the horrifying actions humans inflict on one another. Arundhati Roy highlights similar denials in India, where caste is often sidelined or ignored by intellectuals and scholars, despite its pervasive influence.

6) Then there was the changing of the seasons. ‘This is also a journey,’ M said, ‘and they can’t take it away from us.’ (फिर मौसमों में परिवर्तन हुआ।  'यह भी एक यात्रा है,' एम ने कहा, 'और इसे वे हमसे छीन नहीं सकते।')

Before the 10th chapter titled 'The Ministry of Utmost Happiness,' Arundhati Roy quotes from Nadezhda Mandelstam's memoir, "Hope Against Hope." This memoir tells the tragic tale of her husband, Osip Mandelstam, during Stalin's purges. Nadezhda's courage in preserving Osip's unpublished poems by memorizing and smuggling them out of the USSR for publication demonstrates her resilience and resistance to oppression. Her memoir vividly portrays life under Stalin's regime, highlighting its absurdity, cruelty, and unpredictability. Themes of hope, despair, and maintaining dignity in challenging circumstances are profoundly explored in her writings.

Nadezhda's struggle with whether to speak out against oppression or stay silent echoes Roy's portrayal of human suffering and resilience. Roy's narrative includes scenes of extreme torture and the heartbreaking sight of young martyrs, reflecting a mix of anger and dark humor in difficult situations. Despite the overwhelming despair, Roy emphasizes the idea of "hope against hope," drawing inspiration from Mirza Waheed's symbolism of yellow flowers representing the intertwining of hope and sorrow. The "Russian connection" in Roy's work can be understood in the context of the influence of the Indian Communist Party, which facilitated cultural exchange with the USSR and promoted the translation of Russian literature into Indian languages, especially in West Bengal. Characters like Revathy, raised by her Communist grandfather, symbolize this connection, growing up surrounded by books from People's Publishing House and Soviet Bhumi, adding a deeper cultural dimension to the narrative.

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Works Cited -

Pesso-Miquel, Catherine. “Arundhati Roy's The Ministry of Utmost Happiness, or How to Recruit...” OpenEdition Journals, https://journals.openedition.org/polysemes/9239. Accessed 18 March 2024.

'The Joys of Motherhood' by Buchi Emecheta

Hello Readers! This blog is a part of a thinking activity assigned by Megha Trivedi ma'am from The English Department, MKBU, Bhavnagar. This blog will delve into the novel ‘The Joys of Motherhood’ by Buchi Emecheta.

Buchi Emecheta:

Buchi Emecheta is considered one of the most prominent female African writers, celebrated for her novels chronicling the experiences of African women in Nigeria and abroad. Buchi Emecheta, born Florence Onye Buchi Emecheta on July 21, 1944, in Lagos, Nigeria, emerged as a luminary among African female writers. Growing up immersed in the rich storytelling of her Ibo heritage, Emecheta harbored a childhood dream of becoming a writer. Her journey took a pivotal turn at the age of 16 when she married and relocated to London in 1962 with her husband and two children. While working as a librarian at the British Museum, Emecheta pursued her passion for writing, sharing stories in the New Statesman magazine that later evolved into her early works, including "The Ditch" (1972) and "Second-Class Citizen" (1974), both encapsulated in "Adah’s Story" (1983).
Enduring the harsh realities of an abusive marriage, Emecheta found solace and strength in literature. Her manuscript for "The Bride Price" was tragically destroyed by her husband, marking a turning point. Bravely separating from him, Emecheta, now a single mother of five, navigated the challenges of raising her children while pursuing education and a burgeoning writing career. Emecheta's literary repertoire extended to impactful works such as "The Slave Girl" (1977), "The Joys of Motherhood" (1979), "Destination Biafra" (1982), "Double Yoke" (1982), and "The Rape of Shavi" (1983). Beyond fiction, she delved into children's stories, scripted plays for the BBC, and penned her autobiography, "Head Above Water" (1986).

A multifaceted talent, Emecheta founded the Ogwugwu Afor Publishing Company and contributed significantly to cultural and artistic initiatives. Her influence reverberated through her membership in the Home Secretary's Advisory Council on Race and the Arts Council (1982-83). Emecheta's insightful commentary found a platform in renowned publications like the New Statesman, the Times Literary Supplement, and The Guardian. In recognition of her profound contributions, Emecheta was honored with the Officer of the British Empire (OBE) title in 2005. Despite facing adversity, she remained a beacon of resilience and inspiration until her passing in London in 2017, leaving behind a legacy that continues to shape African literature and empower generations of aspiring writers.

'The Joys of Motherhood’ :

'The Joys of Motherhood' was written by Buchi Emecheta, a Nigerian-born British author, and published by Allison & Busby in 1979. Novel stands as a poignant exploration of the complexities inherent in motherhood, set against the backdrop of post-colonial Nigeria. Published in 1979, the novel delves into the life of Nnu Ego, a woman navigating the intricate dance between societal expectations, personal aspirations, and the profound sacrifices demanded by motherhood. Emecheta's narrative prowess unveils the harsh realities and societal pressures faced by Nnu Ego as she strives to fulfill her roles as a wife and mother. The novel is a compelling examination of identity, tradition, and the evolving roles of women in a changing world.

The Joys of Motherhood details the life story of an Ibo woman named Nnu Ego who escapes the ignominy of a childless first marriage by fleeing to the distant city of Lagos to start anew with a second husband. Nnu Ego's simple dream of becoming a mother-a dream rooted in the cultural values of Ibo society, where motherhood is the primary source of a woman's self-esteem and public status-is happily realized several times over in this new setting. The pleasures associated with motherhood that the protagonist so eagerly anticipates, however, are ultimately negated by the difficult economic conditions of her new urban environment. In short, there are so few job opportunities for her husband to pursue that Nnu Ego spends her entire life alternately birthing children and working day in and day out as a cigarette peddler to stave off the hunger and poverty that invariably haunt her household. The novel focuses on this grueling battle, a battle that ends in a loss for Nnu Ego, as she witnesses her beloved sons grow up and leave Nigeria for good and her daughters marry and move away. Nnu Ego's hopes of living out her final years in the company of her grandchildren disappear before she turns forty, and she dies at the side of a country road, alone and unnoticed. As we embark on the journey within "The Joys of Motherhood," we are invited to witness the triumphs and tribulations of Nnu Ego, offering a nuanced portrayal of the joys and sorrows intertwined with the profound experience of motherhood. Emecheta's masterful storytelling not only encapsulates the specific struggles of one woman but also resonates universally, provoking reflection on the intricate tapestry of familial and societal expectations.

Visit this video for better understanding.

Here are some questions provided by ma'am as a task. Let's delve into a detailed discussion.

1) The title of Emecheta’s novel is patently ironic, for it would seem that there are few joys associated with motherhood after all. Explain.

The title of Buchi Emecheta's novel, "The Joys of Motherhood," exhibits a clear and deliberate use of irony, as the narrative unfolds to reveal a nuanced perspective on motherhood that challenges the conventional notions of joy associated with it. The irony embedded in the title becomes evident as the protagonist, Nnu Ego, grapples with a series of challenges and societal expectations that diminish the anticipated joys of motherhood. This book is titled The Joys of Motherhood, but almost immediately Emecheta begins tracing how motherhood and suffering are inextricably linked. More importantly, the author explores how women are culturally conditioned to believe they are valuable only in conjunction with their children, in turn placing these women in a servant position from which they will not willfully leave because of their biological commitment to their own children. For Nnu Ego and Ona motherhood is anything but joyful. It's a constant reminder of their own seeming powerlessness and inferiority within the system.

Nnu Ego's journey as a mother is fraught with hardships, emphasizing the harsh realities of her life. From the pressure to bear children to the economic struggles of providing for her family, the novel portrays a complex and often unforgiving portrayal of motherhood. The societal and cultural expectations placed upon Nnu Ego create a narrative where the fulfillment of her maternal duties comes at a significant personal cost. Furthermore, the title's irony is accentuated by the thematic exploration of the evolving roles of women in post-colonial Nigeria. As Nnu Ego strives to adhere to traditional expectations while navigating a changing world, the dichotomy between the title and her experiences becomes more pronounced. The novel thus becomes a poignant commentary on the clash between societal expectations and the lived reality of motherhood.
In essence, the irony in the title serves as a literary device to provoke contemplation on the multifaceted nature of motherhood. Emecheta skillfully challenges preconceived notions, inviting readers to question societal constructs surrounding the supposed "joys" of being a mother. Through the lens of Nnu Ego's life, the novel prompts a deeper exploration of the sacrifices, struggles, and complexities inherent in the maternal experience, ultimately subverting the conventional notion encapsulated in the seemingly optimistic title.

2) The basic narrative lends itself toward neo-feminism. The main female characters struggle to shed the conditioning that forces them to act out roles that bring little fulfillment. With reference to this, study The Joys of Motherhood by applying a feminist theory.

The Joy of Motherhood, the tale of a mother, Nnu Ego, is written with subtlety, power and abundant compassion.The theme is closely related with the novel, Efuru. In this magnum opus, the same concerns are articulated but the world of Nnu Ego is darker than Efuru. Her motherhood has failed in birth and death because of the twice colonial situation. The western masters suppressed the native Ibo people; as a result, they started to dominate their women. The colonial forces had changed the visage of self-reliant villages where Nnu Ego found herself trapped. In the unfamiliar city life, she wanted to be a good daughter for her father as she carried values with her, a good mother and a good wife to Nnaife Owulum- a man selected by her father. Even her father, Agbadi who was a great chief and elephant huntsman, and the proud Ona, is not different from the other men. When he came to know that Nnu Ego had left for Logos, he consoled himself as, 
“Let her go, she is as barren as a desert.”
One of the eldest wives of Agbadi, eldest mother of Nnu dies from the strain of pretending to be a ‘complete woman”. Interestingly, the predicament of wives and mothers were not cramped to any specific generation.The very first encounter with her husband gave horrendous shock as she described him as a “pregnant cow”. Her husband asked his connubial rights at the very first night and raped her without giving a choice to change her mind. In Emecheta’s novels, rape is a recurring narrative and that becomes a symbol of manhood. The male characters controlled their wives in the name of tradition. 

The African socio-cultural setting is predominantly a patriarchal society where women are marginalized and are not recognized in the scheme of things. In The Joys of Motherhood, African women are presented as second-class citizens and as a result, there is preference for boys to girls. In this text, the gender issue created is that it is better to give birth to a male child than a female one in the patriarchal Ibo society where the story is set. Consequently, premium is placed on the male child to the extent that when Nnaife’s two wives, Adaku and Nnu Ego, become pregnant and Nnu Ego gives birth to a set of twins which are girls Adaku is not sure about how Nnaife will receive the news. Nnu Ego and Adaku begin to imagine their husband’s reaction in this conversation:

'Your first set of girls, senior wife,’ Adaku said. By way of congratulations. ‘Hm, I know, but I doubt if our husband will like them very much. One can hardly afford to have one girl in a town like this to say nothing of two’.

As the story of invisibility and marginalization of women who have no voice, Emecheta’s The Joys of Motherhood, aims at rewriting an integral part of history which has been dismissed. Indeed, Emecheta seeks to speak for Ibuza women being marginalized and oppressed by colonial and indigenous patriarchal society. In the novel, female figures are multiply victimized by oppressive forces of rac feminists in their problematic discussions of Third World women, ignoring the diversity among women, considering all the native women as a homogeneous group. However, women have different identities, history, struggle and everyday lives. In fact, “women are not a singular monolithic subject. Even when they share the same culture, they are still different”. Besides criticizing colonialism, capitalism and racism, The Joys of Motherhood points out the way in which women are silenced and oppressed by native patriarchy and, however, this oppression is not mediated by race and /or class. This is, by no means, in contrast with postcolonial feminist premise. Because the fundamental issue in postcolonial feminist discourse is to consider the intersection of gender,class and race. The singular focus on gender and sexuality, as a source of women’s oppression, in terms of context, should be dismissed. 

In a nutshell, the analysis of Buchi Emecheta’s ‘The Joys of Motherhood’ revealed prominent feminist themes such as gender inequality, sex-role distinctions, bride price issues, gender violence, male dominance, and the objectification of women. It highlights the ongoing struggle for political, economic, personal, and social equality between genders in African societies. Despite efforts to challenge gender stereotypes and create equal opportunities in education and profession, progress is hindered by the patriarchal nature of African society. This study underscores the importance of feminist critical discourse analysis in understanding the socio-cultural factors impacting women in Africa. It aims to empower women and promote gender equality, without being anti-male, anti-culture, or anti-religious.

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