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The Rape of Shavi
An allegorical tale, in which a collision between Westerners and tribal
members imperils the stoic traditionalism of the Africans.
members imperils the stoic traditionalism of the Africans.
178 pages, Paperback
First published November 1, 1983
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604 people want to read
About the author
Buchi Emecheta
27 books610 followersBuchi Emecheta OBE was a Nigerian novelist who has published over 20 books, including Second-Class Citizen (1974), The Bride Price (1976), The Slave Girl (1977) and The Joys of Motherhood (1979). Her themes of child slavery, motherhood, female independence and freedom through education have won her considerable critical acclaim and honours, including an Order of the British Empire in 2005. Emecheta once described her stories as "stories of the world…[where]… women face the universal problems of poverty and oppression, and the longer they stay, no matter where they have come from originally, the more the problems become identical."
From 1965 to 1969, Emecheta worked as a library officer for the British Museum in London. From 1969 to 1976 she was a youth worker and sociologist for the Inner London Education Authority, and from 1976 to 1978 she was a community worker.
Following her success as an author, Emecheta travelled widely as a visiting professor and lecturer. From 1972 to 1979 she visited several American universities, including Pennsylvania State University, Rutgers University, the University of California, Los Angeles, and the University of Illinois at Urbana-Champaign.
From 1980 to 1981, she was senior resident fellow and visiting professor of English, University of Calabar, Nigeria. In 1982 she lectured at Yale University, and the University of London, as well as holding a fellowship at the University of London in 1986.
From 1982 to 1983 Buchi Emecheta, together with her journalist son Sylvester, ran the Ogwugwu Afor Publishing Company.
(from Wikipedia)
From 1965 to 1969, Emecheta worked as a library officer for the British Museum in London. From 1969 to 1976 she was a youth worker and sociologist for the Inner London Education Authority, and from 1976 to 1978 she was a community worker.
Following her success as an author, Emecheta travelled widely as a visiting professor and lecturer. From 1972 to 1979 she visited several American universities, including Pennsylvania State University, Rutgers University, the University of California, Los Angeles, and the University of Illinois at Urbana-Champaign.
From 1980 to 1981, she was senior resident fellow and visiting professor of English, University of Calabar, Nigeria. In 1982 she lectured at Yale University, and the University of London, as well as holding a fellowship at the University of London in 1986.
From 1982 to 1983 Buchi Emecheta, together with her journalist son Sylvester, ran the Ogwugwu Afor Publishing Company.
(from Wikipedia)
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Displaying 1 - 16 of 16 reviews
March 23, 2019
Some well-crafted texts can convey the gravity of several themes depending on the reading one approaches it with. Unfortunately, The Rape of Shavi is not such a text. There is much going on here with different themes: colonialism, tradition vs. modernity, slavery, racism, feminism, that the short novel reads more like an incomplete treatise of various superimposed ideas at the behest of the genre that it is supposed to be—a literary work of fiction. The constant shift in ideas and themes coupled with the omniscient point of view is like being at a party listening in on all the attendees’ conversations simultaneously. It is a cacophony.
What suffers even further from this overwhelming approach is characterization. There are many characters that one could pick and invest in, but the depth is lacking because the focus is not to empathize at the micro level of a character, but only at the macro, that of the Shavians. Sadly, in literary fiction, I do not see how that can possibly happen, i.e. sympathizing with the overall plight—in this case, a tribe—if I cannot care for any one of the individuals of that tribe. Emecheta tried too hard to wallop the themes in both a constrained setting and a limited number of pages.
Shavi, her fictional African locale, somewhere near the Sahara, is stereotypical of a Eurocentric view of an African tribe, a typical caricature no different than was depicted in the movie King Solomon’s Mines (1985) starring Richard Chamberlain and Sharon Stone. One would expect more nuanced details adopted from any or multiple African tribal cultures to seep in and add weight to the authenticity of her African depiction. Lacking this, we are left with an oversimplified tribe that is in awe of the white mans ‘fiery bird’ (plane). And the reason for this choice: to portray an isolated African culture that will be raped.
This is a lame perspective (not to mention clichéd writing), where Ista and Andria are supposed to be highly educated, emancipated women yet simply speculate about Africa and resort to a fit of giggles. The women, both the Europeans and the Africans, are depicted as morons despite the narrative telling us otherwise. This contradiction between what is told and what is shown results in a jarring dissonance.
The real weakness in this novel is the dialogue. The propellant for a scene-based novel is abused to no end with flat characters and clichéd writing that can only end up with dull utterances.
Whether this novel was intended for an African audience or for a European, it fails either way. For the African, stereotyping the Europeans into clichéd characters and reinforcing how Europeans view them (as such: clichéd Africans) is unhelpful. It is only enhancing the negativities without really explaining why these misconceptions exist, or even, as a novel can easily do, throw in the catalyst of change. Again, the reason for this failure is that Emecheta focuses on her themes rather than any one character who would undergo a transformation in the span of the novel. As for the Europeans, stereotyping the Africans is a lost opportunity to show us the richness of cultural difference and the success of a tribal community, instead, we are left with a caricature of Africanness as seen by a ‘white’ man.
Of all the themes crammed up here, the ones that Emecheta returns to most frequently are feminism and tradition. Whenever we witness a scene without the white ‘guests,’ we get a better glimpse of the tribe, but it is hard to put any stock in it because it is a highly fictionalized account, as the tribe is a made-up one. And when the whites are around, everything is downplayed as ridiculous or primitive. One could argue that this is logical since we have two opposing views of what constitutes modernity, and technology (fiery bird) is used as a standard of measure to this effect so that clearly the whites are more advanced.
Emecheta uses the birth of a baby by a Shavian to demonstrate her point, where Ista (the doctor) thinks the Shavian needs a cesarean section and is trying to convince the women of it. But unable to communicate in each other’s languages, they see her flailing arms and panicked face as a woman who wants a baby of her own and is probably past her time, so they think she’s jealous and they feel sorry for her. Suffice it to say, the baby is born healthy and in a different manner than Ista is familiar with. The point being, she fails to realize that this culture has survived and prospered before the white man came with their medicine and what not to rape the African continent of its resources.
Probably one of the few intelligent utterances that has a strong impact and clear message, only to immediately be ruined again by the shallowness of the characters:
Overall, this novel fails drastically in what it sets out to achieve. I have barely scratched the surface here. I have not even discussed the men, the rape of an innocent girl, the racism and reverse racism, genital mutilation, the exploitation… Imagine a whole bunch of characters, two handfuls of themes, a lack of a specific perspective, and only 180 pages—an experienced reader would know what I mean.
What suffers even further from this overwhelming approach is characterization. There are many characters that one could pick and invest in, but the depth is lacking because the focus is not to empathize at the micro level of a character, but only at the macro, that of the Shavians. Sadly, in literary fiction, I do not see how that can possibly happen, i.e. sympathizing with the overall plight—in this case, a tribe—if I cannot care for any one of the individuals of that tribe. Emecheta tried too hard to wallop the themes in both a constrained setting and a limited number of pages.
Shavi, her fictional African locale, somewhere near the Sahara, is stereotypical of a Eurocentric view of an African tribe, a typical caricature no different than was depicted in the movie King Solomon’s Mines (1985) starring Richard Chamberlain and Sharon Stone. One would expect more nuanced details adopted from any or multiple African tribal cultures to seep in and add weight to the authenticity of her African depiction. Lacking this, we are left with an oversimplified tribe that is in awe of the white mans ‘fiery bird’ (plane). And the reason for this choice: to portray an isolated African culture that will be raped.
“But Ista, where is this? It’s a desert, but which desert?”
“I think we must be somewhere in Africa. Judging from what we’ve seen, the people are content, work hard and enjoy it…”
Just as if they had heard what she was saying, three women came in with Ayoko. They gave the two gaping white women long grasses tied together for sweeping. Amid a lot of giggles, they tied a head cloth on Andria and Ista and showed them how to sweep.
“I think I’m beginning to guess. We’re being turned into white slaves,” Andria said between clenched teeth.
This is a lame perspective (not to mention clichéd writing), where Ista and Andria are supposed to be highly educated, emancipated women yet simply speculate about Africa and resort to a fit of giggles. The women, both the Europeans and the Africans, are depicted as morons despite the narrative telling us otherwise. This contradiction between what is told and what is shown results in a jarring dissonance.
The real weakness in this novel is the dialogue. The propellant for a scene-based novel is abused to no end with flat characters and clichéd writing that can only end up with dull utterances.
“Now I know we’re in Africa,” Ronje said.
“Because of the drums?” Mendoza asked.
“Yes. If you want to kill an African culturally, take away his drum.”
They all laughed.
Whether this novel was intended for an African audience or for a European, it fails either way. For the African, stereotyping the Europeans into clichéd characters and reinforcing how Europeans view them (as such: clichéd Africans) is unhelpful. It is only enhancing the negativities without really explaining why these misconceptions exist, or even, as a novel can easily do, throw in the catalyst of change. Again, the reason for this failure is that Emecheta focuses on her themes rather than any one character who would undergo a transformation in the span of the novel. As for the Europeans, stereotyping the Africans is a lost opportunity to show us the richness of cultural difference and the success of a tribal community, instead, we are left with a caricature of Africanness as seen by a ‘white’ man.
Of all the themes crammed up here, the ones that Emecheta returns to most frequently are feminism and tradition. Whenever we witness a scene without the white ‘guests,’ we get a better glimpse of the tribe, but it is hard to put any stock in it because it is a highly fictionalized account, as the tribe is a made-up one. And when the whites are around, everything is downplayed as ridiculous or primitive. One could argue that this is logical since we have two opposing views of what constitutes modernity, and technology (fiery bird) is used as a standard of measure to this effect so that clearly the whites are more advanced.
Emecheta uses the birth of a baby by a Shavian to demonstrate her point, where Ista (the doctor) thinks the Shavian needs a cesarean section and is trying to convince the women of it. But unable to communicate in each other’s languages, they see her flailing arms and panicked face as a woman who wants a baby of her own and is probably past her time, so they think she’s jealous and they feel sorry for her. Suffice it to say, the baby is born healthy and in a different manner than Ista is familiar with. The point being, she fails to realize that this culture has survived and prospered before the white man came with their medicine and what not to rape the African continent of its resources.
“Well look for yourself. He’s suckling as thirstily as if he’d just arrived from a cattle farm.”
“I wouldn’t know. I haven’t got a man who goes to cattle farms.” Ista’s voice was sharp.
Andria stretched out her hand and took Ista’s. “I’m sorry. I know how you must be feeling. I don’t like it here very much, but sometimes when you’re privileged to watch scenes like this, you wonder whether our complicated life is not all our own making.”
Probably one of the few intelligent utterances that has a strong impact and clear message, only to immediately be ruined again by the shallowness of the characters:
Ista stopped and looked directly into Andria’s brown eyes.
“Would you like a birth like this for the baby you’re now carrying?”
“I don’t know. I wouldn’t mind, though not on such a dirty floor. It’s beautiful to watch.”
Overall, this novel fails drastically in what it sets out to achieve. I have barely scratched the surface here. I have not even discussed the men, the rape of an innocent girl, the racism and reverse racism, genital mutilation, the exploitation… Imagine a whole bunch of characters, two handfuls of themes, a lack of a specific perspective, and only 180 pages—an experienced reader would know what I mean.
October 12, 2008
Great book on how "white men" are taken in with open arms only to abuse, contaminate, and take everything from the trusting natives.
September 6, 2018
Story of what happens when a group of westerner's plane crashes near a never discovered village and the rape of a young tribes woman by a white man takes place. Also symbolizing the rape of indigenous resources done by colonialists.
March 2, 2007
A novel about a fictional culture in Africa, very stereotypical in nature. A bird (aka an airplane) crashes into the earth, a group of Europeans are trying to escape a time in European history when the Dooms Day clock was only five minutes till midnight. Emecheta explores the relationship between modernism and tradition. She asks the question, can the two exist in harmony?
January 13, 2009
If you want a vivid story of how/whence Afrikans were introduced to Caucasians..this is it!!!
November 13, 2009
This book probably deserves more stars, but I just didn't enjoy it that much. That isn't to say that it's not a good book. Just not my style I guess.
March 14, 2009
Interesting.
July 31, 2013
The exposition was delightful. It's a bit of a let-down that the dramatic events that came from Shavi's contact with the West aren't as awesomely described in detail as the beginning of the book.
July 4, 2021
Important and difficult read, in terms of themes and paralels to the real world. However, unfortunately it isn't the best written story.
It is a story of clashing cultures, African Shavians with their slow, natural way of living, and Europeans, who are quick, selfish and rely on the science too much. This pays to the idea of "noble savage" to the extent which is annoying at times. There is a lot of believes and attitudes thrown onto the characters, as if the book tried to tackle every single issue that there could be. The characters themself don't feel particularily real, they are more like talking points for the Colonialism 101 course.
Then, there is the pacing. The story starts very slow, first few chapters are all happening in the same day, we get a lot of background information about both clashing groups - Shavians and Europeans. With each page, the pace quickens, eventually leaving some very important plotlines to the single line of text and skipping ahead whole months. This could have been intentional, but doesn't really feel like it, feels more like author just wanted to be done.
That being said, those issues are very real, those things are happening, and there are people who think the same way, as our protagonists. There were moments when I was on the edge of my seat, knowing what's going to happen next, and not liking it. Over all, I think I'd like to read that story, but written by somebody else.
It is a story of clashing cultures, African Shavians with their slow, natural way of living, and Europeans, who are quick, selfish and rely on the science too much. This pays to the idea of "noble savage" to the extent which is annoying at times. There is a lot of believes and attitudes thrown onto the characters, as if the book tried to tackle every single issue that there could be. The characters themself don't feel particularily real, they are more like talking points for the Colonialism 101 course.
Then, there is the pacing. The story starts very slow, first few chapters are all happening in the same day, we get a lot of background information about both clashing groups - Shavians and Europeans. With each page, the pace quickens, eventually leaving some very important plotlines to the single line of text and skipping ahead whole months. This could have been intentional, but doesn't really feel like it, feels more like author just wanted to be done.
That being said, those issues are very real, those things are happening, and there are people who think the same way, as our protagonists. There were moments when I was on the edge of my seat, knowing what's going to happen next, and not liking it. Over all, I think I'd like to read that story, but written by somebody else.
January 27, 2022
Like all other books of Buchi, I love this one.
I think the fast pace of the book was intentional, written to capture so many themes at once. In all it was a good read, sad but okay still. When Westerners told the African people story, it was one sided, this was needed and I'm glad it is Buchi that told it. In all, I think the book reiterates that humans can coexist without imposing themselves over another but we can't be too sure if that
I think the fast pace of the book was intentional, written to capture so many themes at once. In all it was a good read, sad but okay still. When Westerners told the African people story, it was one sided, this was needed and I'm glad it is Buchi that told it. In all, I think the book reiterates that humans can coexist without imposing themselves over another but we can't be too sure if that
February 12, 2019
3.5/5. Trigger warning for rape.
I had to read this for a class, and I'm really glad my professor assigned this one. She did say it was going to be sad, but I wasn't prepared for how emotionally devastating it actually was. It was beautifully written, and I'll be sure to check out Emecheta's other works in the future.
I had to read this for a class, and I'm really glad my professor assigned this one. She did say it was going to be sad, but I wasn't prepared for how emotionally devastating it actually was. It was beautifully written, and I'll be sure to check out Emecheta's other works in the future.
November 1, 2025
Ulan asogba ulan koskoca şavi medeniyeti kör topal kaldı senin yüzünden. Kitapta geçen albinolarda kendi işlerini hallettiler umurlarında olmazsınız artık. Batı bu işte başka birşey değil. O tecavüzcü albino serefsizide inş çölde geberip gitmiştir.
November 28, 2024
Should read more Buchi Emecheta
March 12, 2025
I wish I liked this more than I did
Displaying 1 - 16 of 16 reviews