Lola Shoneyin’s (daughter in law of Nigerian Nobel Laurete, Professor Wole Soyinka) debut novel is an example of social realism and I was taken in by the story
from page one.
I’ve read enough novels that depict polygamy but this one was different; like the writer was an invisible, silent observer of the rather dysfunctional household of Baba Segi; which consists of his four wives and several children. Baba Segi was not a man I liked at all, actually I despised him. Marrying three more wives and siring children from them was to prove he was a virile “all man” male; most of the time in the novel, he couldn’t stop talking about it or them, like it was a real achievement. The wives are his property and they cook and clean and of course carry out their matrimonial duties when it gets to their turn. They are proud to be his wives and mothers of his children.
I’ve read enough novels that depict polygamy but this one was different; like the writer was an invisible, silent observer of the rather dysfunctional household of Baba Segi; which consists of his four wives and several children. Baba Segi was not a man I liked at all, actually I despised him. Marrying three more wives and siring children from them was to prove he was a virile “all man” male; most of the time in the novel, he couldn’t stop talking about it or them, like it was a real achievement. The wives are his property and they cook and clean and of course carry out their matrimonial duties when it gets to their turn. They are proud to be his wives and mothers of his children.
We find out
that the household was thrown into disarray when Baba Segi suddenly took a
fourth wife. The wives are immediately angry and jealous because the fourth
wife- Bolanle- unlike them is a University graduate; a young woman Baba Segi
met through a customer at his building store. The reader will immediately wonder
why an educated girl like Bolanle would throw her life away by marrying a
middle aged pompous illiterate like Baba Segi; and who already has three wives
and several kids already. It appeared later that the enigmatic Bolanle was harbouring
a secret and got the misguided idea that she would find refuge in Baba Segi’s
household. Which in fact she didn’t, the wives are hostile and unfriendly
towards her. Mama Tope- the second wife-
however was friendly towards her, but she was in the minority and rather weak spirited. The children are
instructed not to have much to do with her and Baba Segi- seemly oblivious to
Bolanle’s problem- treats her like a trophy. Worse still, it’s obvious that
Bolanle married Baba Segi for the wrong reasons and the reader is eager to know
what exactly she’s hiding.
After two
years of marriage and no child from Bolanle, Baba Segi’s ‘trophy wife’ is
suddenly tarnished in his eyes and he feels she’s not so perfect after all. When
he proposed they get to the root of the matter, the wives- well at least the first
and third, seem even more hostile towards Bolanle until we realise their
behaviour towards Bolanle isn’t just mere jealousy but a secret they were
terrified would come out.
Shoneyin
paints a very grim and unglamourous picture of polygamy; where the new wife is
treated like an outsider. Also, she depicts the emphasis of having children
since in African society; a woman’s crowning moment is when she becomes a
mother- the more children she has for her husband, the higher her status. As the
reader turns each page, they see the story through the eyes of several
characters; their back stories and their point of view of the present situation
and slowly the readers learn Bolanle’s secret and what the wives don’t want
their husband to find out. In the end Bolanle finds herself reconciling with
her estranged family and reevaluating her life after revealing her painful
secret and the wives find themselves at a very tight corner after theirs is
exposed.
“The Secret
Lives of Baba Segi’s Wives” wasn’t the least bit disappointing. I wasn’t fond
of some of the characters but it was filled with intrigue and emotion and rich
in African tradition. I’ve read it several times over now and it’s still as
gripping as when I first opened it.
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