The Headstrong Historian is a captivating short story written by the renowned Nigerian author, Chimamanda Ngozi Adichie. Set in colonial Nigeria, the story follows the life journey of Nwamgba, a resilient and strong-willed woman who defies patriarchal norms and colonial influences to preserve her Igbo heritage and cultural identity. Adichie’s masterful storytelling weaves themes of patriarchy, colonialism, cultural suppression, and the importance of reclaiming one’s history and identity. Chimamanda Ngozi Adichie is a critically acclaimed contemporary author known for her powerful narratives that explore African identity, gender roles, and the impact of colonialism.
The Headstrong Historian | Summary
‘The Headstrong Historian’ tells the story of Nwamgba, a woman who still cherishes memories of her deceased husband, Obierika. She recalls their courtship, marriage, and struggles with infertility. Despite pressure from others, Nwamgba remains devoted to Obierika and refuses to let him take a second wife. She contemplates finding a suitable wife for him but eventually becomes pregnant again, leading to a miscarriage. The excerpt ends with Nwamgba giving birth to a child. Throughout the narrative, we see Nwamgba’s strength and determination in navigating societal expectations and her desires.
She names her son Anikwenwa, the child she had longed for, and raises him with love and care. However, Obierika’s cousins, Okafo and Okoye, show envy and malice towards her and her son. Nwamgba confronts them and tries to protect her family’s inheritance. Meanwhile, she hears about the arrival of white men in their village, bringing new customs and causing concerns among the people. Nwamgba considers sending her son to learn from them but ultimately rejects the idea, determined to protect him from the uncertainties of the changing world.
Three events prompt Nwamgba to change her mind about sending her son Anikwenwa to school. First, Obierika’s cousins deceitfully take over her land, and the elders side with them. Second, Ayaju tells a story of how a man lost his land case in the white men’s court due to the language barrier, and Nwamgba fears the same fate for her son. Third, she hears the harrowing tale of Iroegbunam, who was abducted and sold into slavery but later rescued by Christian missionaries. This story convinces Nwamgba that her son must learn English to protect himself and their land from the malicious intentions of Obierika’s cousins.
Nwamgba decides to take Anikwenwa to a school run by the Anglican mission, but she becomes disillusioned when she discovers that the instruction is in Igbo, not English. Disappointed, she goes to the Catholic mission instead, where Father Shanahan baptizes Anikwenwa with the English name ‘Michael.’ Nwamgba is determined that Michael learns English well enough to fight for his rightful inheritance against Obierika’s cousins. Father Shanahan is impressed by Nwamgba’s assertiveness and believes she could make a good missionary among the women.
Nwamgba’s son Anikwenwa, now known as Michael, became a dedicated Christian missionary and embraced the teachings of the white missionaries. He attends school, learns English, and eventually returns to their village as a catechist. Despite his success, Nwamgba feels a growing distance between them as Michael becomes more involved in his missionary work. He announces his intention to marry Mgbeke, a converted young woman, and they have a church wedding. Nwamgba initially tries to dislike Mgbeke but finds her hard to dislike due to her gentle and submissive nature. However, Nwamgba can’t help but feel a sense of pity for Mgbeke, who often comes to her in tears, troubled by the strict rules imposed by Michael. Nwamgba, not understanding why Mgbeke cries over trivial matters, carves her pottery in silence while providing comfort to her daughter-in-law.
Despite their differences, Nwamgba remains steadfast in her belief in traditional customs and the power of her ancestral spirits. She feels increasingly alienated from the changing world and looks forward to the day when she can join her late husband, Obierika, and be free from a world that seems to make less and less sense to her. In the final moments of her life, Nwamgba’s wish to see her granddaughter, Afamefuna, is granted when Grace comes home from her secondary school in Onicha. The atmosphere is tense as Anikwenwa wants to hold a Christian funeral for his mother, but Nwamgba vehemently refuses to be baptized or anointed. Despite their differences, Afamefuna’s presence brings some comfort to Nwamgba, who has been struggling with illness.
As Nwamgba lies on her deathbed, her thoughts turn to the changing world around her. She reflects on the darkness that suddenly descended on the land in the middle of the afternoon, hinting at the unsettling times. Afamefuna’s return signifies the hope and strength of the new generation. Grace’s determination to be by her grandmother’s side, even amid her school exams, demonstrates her deep connection to her roots. The paragraph ends on a poignant note as Grace puts down her school bag, containing a textbook that describes the pacification of the primitive tribes of Southern Nigeria by a British administrator. This moment reflects the ongoing tension between traditional African customs and the influence of European colonialism.
As Grace sits by her grandmother’s bedside, she reflects on her own journey and the various twists and turns her life has taken. From being a curious young girl fascinated by her grandmother’s stories and customs to facing discrimination and mockery at school, she emerges as a determined and strong-willed woman. Grace’s experiences in education led her to question her father’s and her own schooling, eventually leading her to pursue history instead of chemistry. Her deep interest in her African roots drives her to travel and research extensively, culminating in the writing of her book, ‘Purifying with Bullets: A Reclaimed History of Southern Nigeria.’ However, her passion for history and her commitment to her cultural heritage cause a rift with her fiancé George, leading to their eventual divorce. Throughout her successful academic and professional career, Grace’s grandmother’s influence remains strong, and she imagines her grandmother watching over her with amusement. In her later years, Grace experiences a sense of rootlessness and decides to officially change her first name from Grace to Afamefuna, connecting more closely with her Igbo identity.
The Headstrong Historian | Analysis
Eric M Washinton puts forward the idea that in ‘‘The Headstrong Historian’’ Adichie ‘interweaves post-colonialism and feminism’ to argue that the colonial past of Nigeria disrupted pre-colonial women’s organizations and their power dynamics.
Anene Ejikeme argues that the Igbo encounter with European colonization was made famous by Chinua Achebe’s work Things Fall Apart, which portrayed the story from a male perspective. Chimamanda Ngozi Adichie’s short story ‘Headstrong Historian’ provides a woman’s perspective on this history. Adichie does this by recounting the story from the viewpoint of her female protagonists, enacting the dual-sex system that scholars contend is at the core of Igbo civilizations. Adichie emphasizes two arguments during this process: first, that there isn’t a single account of Igbo history; and second, that European colonialism had a substantial detrimental impact on Igbo women. At least the non-Christian women in Adichie’s short novella are powerful, self-reliant, and in charge of their own lives.
Adichie’s portrayal of women in ‘Headstrong Historian’ implies that the interference of Christianity and European domination had negative consequences on Igbo women’s agency.
According to Danne Niko the story depicts how ‘passive’ Western colonizers, dressed as messianic Christian missionaries, gradually co-opted natives, particularly children, into establishing, promoting, and spreading their colonial ideologies. According to the plot’s development, Anikwenwa is christened under the name Michael, learns English, and eventually reclaims his father’s assets. But as he becomes more ingrained in the society of white men, he distances himself from his own culture and even goes so far as to criticize it. While rejecting his own culture, Anikwenwa promotes a new one. As a result, the white race will no longer be primarily responsible for maintaining and spreading the ideology.
However, later in the story, Nwamgba names her granddaughter Amafune, which means ‘My name won’t be lost.’ The child develops a strong bond with her grandma and shows a keen interest in the traditions and practices of the Igbo society. The colonial enculturation process, however, operates oppositely. She becomes increasingly distant from her Christian roots. Her father’s experiences and expectations are at odds with this. While Grace’s studies developed her critical thinking, skepticism, and eventual mission for historical revisionism, the education he acquired ignited his disdain for and estrangement from his Igbo ancestry. As the story ends, it becomes clear that Afamefuna develops into a historian who challenges the colonial interpretation of her grandmother’s home and kin. She ends up being the story’s narrator and dismantles colonizers’ historical realities by speaking in their language. This is her story, one that is being told and shaped by her power as an independent historian.
The Headstrong Historian | Themes
A central theme in the story is patriarchy, which is explored in terms of how conventional gender roles and power structures affect Igbo society. Specific gender duties and expectations are prescribed by patriarchal conventions in the story. Women are frequently expected to play conventional roles, such as being subservient, obedient, and predominantly occupied with household responsibilities. It also emphasizes how brutal and repressive the dominance of men is in society. Simultaneously, the narrative promotes women’s empowerment and resistance while acknowledging the oppressive aspects of patriarchy.
An important component of the narrative that examines the effects of colonial control on Igbo society and the repression of indigenous culture and customs is the issue of colonialism and cultural suppression. The action of the narrative takes place in Nigeria during the period of British colonial control when the British Empire exercised its power over the local populace and imposed Western institutions, morals, and culture. A cultural confrontation between the traditional Igbo way of life and the new Western influences resulted from the advent of Christian missionaries and colonial administrators. The tension between Nwamgba’s traditional rituals and beliefs and the Christian ideals that are forced onto her son Anikwenwa is illustrative of this clash. Nwamgba’s adherence to traditional practices and Grace’s determination to study Igbo history exemplify their efforts to preserve their heritage in the face of colonial pressures.
As a result, the story’s core and compelling theme of identification and reclamation centers on the individuals’ battles to comprehend, claim, and reestablish their unique and shared identities. Characters in the novel struggle to maintain their traditional Igbo identity while incorporating new Western influences brought about by colonization and Christianity. As they navigate between their own roots and the alien beliefs pushed on them, this cultural conflict leaves them feeling unsure and confused about their true selves. Both Anikwenwa and Grace’s name changes—to Michael for Anikwenwa and Afamefuna for Grace—reflect their desire to adapt to Western culture and restore their lost identities.
Grace starts researching her family’s history and cultural heritage as the plot develops in an effort to restore her Igbo identity and traditions. Her fascination with her grandmother’s tales and her interest in Igbo history shows that she wants to establish a relationship with her ancestors. The narrative emphasizes the value of maintaining cultural legacy and transferring it to subsequent generations. Grace’s choice to go back to Afamefuna signifies her dedication to upholding her ancestors’ tradition and restoring her Igbo identity. The struggles of postcolonial countries to affirm their cultural heritage and feel a feeling of belonging among the complications of modernity are reflected in the characters’ quests to comprehend and recover their identities.
The Headstrong Historian | Title
The title ‘The Headstrong Historian’ encapsulates Grace’s character as a determined and courageous individual committed to reclaiming her cultural identity. Her independent spirit propels her on a quest for self-awareness and historical restitution, making her a crucial character in the story’s examination of colonialism, cultural repression, and the value of legacy preservation.
The Headstrong Historian | Character Sketch
Nwamgba: The resilient matriarch of her clan, Nwamgba is a woman of strong character. She takes pride in her husband’s heritage and makes an effort to look out for the interests of her family as the widow of the renowned Obierika. Despite the obstacles provided by Obierika’s cousins, Nwamgba tenaciously protects her son Anikwenwa and works to ensure his inheritance. She cherishes the traditions and rituals of her clan and rejects colonization and Christianity.
Anikwenwa: Son of Nwamgba and a complex character torn between his traditional upbringing and the Western education he receives from Christian missionaries, Anikwenwa (Michael) is portrayed in the film. He develops a fierce devotion to Christianity while serving as a catechist, which causes him to disagree with his family’s cultural values.
Afamefuna: Afamefuna (Grace) is Anikwenwa’s daughter. Afamefuna is shown as a young woman who challenges social norms and expectations. She is smart and curious. Her curiosity and passion for the past portend her future as a committed historian working to rescue her culture’s history from colonialism.
The Headstrong Historian | Literary Devices
The author uses vivid and descriptive language to create images in the reader’s mind, such as when describing the landscape, characters’ appearances, and cultural customs. For example, the image of Nwamgba sharpening her aguha on the palm of her hand or Grace’s bright eyes focusing on her grandmother evoke powerful visuals.
The story also uses similes to construct nuanced points. After her spouse arrived at her hut in the mornings, Nwamgba recalls feeling ‘as if she were surrounded by light.’ The metaphor emphasizes how much Nwamgba cares about Obierika and how solid their bond is. Nwamgba observes that Anikwenwa starts to appear ‘as if he had suddenly found himself bearing the weight of a heavy world’ when his attitude toward the institution starts to alter. Beginning with this simile, the character transitions from Anikwenwa to Michael and shows how he has come to understand the conflict between his traditional values and his learning at school.
The Pacification of Primitive Tribes in Southern Nigeria and Afamefuna’s own Pacifying with Bullets: A Reclaimed History of Southern Nigeria are two books that are made with opposing ideologies in the plot. The books are similar in subject and language (pacify, Southern Nigeria), but their titles also draw attention to their fundamentally divergent viewpoints—a rhetorical strategy known as antithesis. The first book defends the presence of European colonial powers and the organizations they allied with in African territory as part of their effort to ‘civilize’ populations whom European powers deemed ‘primitive’ in order to benefit themselves. The title demonstrates the utter disrespect for the pre-existing culture, history, and complex cultures that exist in Southern Nigeria and suggests an arrogant stance that wishes to enslave these societies for their own benefit. The title of Afamefuna’s book, Pacifying with Bullets, on the other hand, is an oxymoron that highlights the violence and reality behind this so-called ‘pacification’ by European powers, the slaughter that arises from European domination, and the necessity to reclaim what was taken: their history and cultural identity.
