The writers’ aim, understandably, was to depict a culture as valid as that of the colonialists and to show that the Igbo (AKA ‘the African’) is not the simpering, exotic man-child colonial literature made him out to be, but rather, a full, functioning human. Achebe’s was written two years before Nigeria’s independence from Britain – when most of Africa was still under colonial rule, Nwapa’s followed six years after that, when ‘the African’ was seen as ‘the exotic other’. Both of their debuts, Achebe’s Things Fall Apart (1958) and Nwapa’s Efuru (1966), centre the Igbo world and are set in pre-colonial Igbo villages. However, it would be impossible to talk about our writing, our use of Igbo words, and our narratives as portals into the Igbo world without referencing the Igbo Nigerian writers Chinua Achebe, AKA the father of African literature, and Flora Nwapa, its matriarch. For her, and for many of us Igbo writers publishing globally in English, there is an intentionality to centring our Igboness in our narratives. Wherever her prose appears online, there is always a line stating that she is an Igbo writer. Kasimma Okani, the author of the short story collection All Shades Of Iberibe, insists on including her Igbo ethnic identity at the end of her biography. To accompany the launch of Service95 Book Club’s August Book of the Month, Chimamanda Ngozi Adichie’s Half Of A Yellow Sun, Unigwe explores the importance of Igbo identity – a central pillar of the novel – and explains why Igbo writers past and present celebrate the Igbo language and culture in their work Helps us keep the sub clean by reporting posts and comments that are in fault.Chika Unigwe is a Nigerian professor and author of Igbo descent.
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