Neigbours-o! Abandon of Gladys’ faith SYMBOLS: THE TITLE: GIRLS represent: FRAGILITY, COMPASSION, LOVE; WAR represents POWER, OPRESSION, This time na civil peace” (87).
It is in a bid to document and to reflect upon the war experience that Achebe’s only poetry collection was published, Beware Soul Brothers and other Poems. The stories under review share two aspects of the war, “Girls at War,” reflects upon life prior to the declaration of war on Nigeria by the military government of Biafra and during the war. Above all, in Anthills of the Savannah, Achebe portrayed the rise of military dictatorship in Nigeria, its cataclysmic effect on the people and its clamping down on all subversive or revolutionary forces brewing in the crucible of militocracy. Achebe’s Girls at War and Other Stories1 is a collection of thirteen stories written over a period of twenty years ranging from his early student days to the Civil War. Equality vapourized and favouritism takes over.
Girls at War and Other Stories.
In the neighborhood, houses were bombed and razed by his an exception. Taken from his Girls at War and Other Stories collection the story is narrated in the third person by an unnamed narrator and after reading the story the reader realises that Achebe may be exploring the theme of control and independence. On the other hand, the death of Gladys symbolizes the death of Biafra and Biafranism, the ideals that sustained it. Achebe refers to it as ea pretty lean harvest’. He saw the remains of his car smoking and the entangled remains of the girl and the soldier. We no like trouble.
His efforts and sympathies crashed when Gladys is killed in a bomb raid: “…he saw his driver running towards him in tears and blood. He is not multi-dimensional and complex. However, her death is pointless; it only leaves the reader with grain of pepper in his nostrils.Chinua Achebe documents his own contributions to the Biafran cause in his last book, There was a Country: A Personal History of Biafra. Nwankwo works with the Ministry of Justice while Gladys with Civil Defence. This collection is a ‘bitter vignette’ of the Biafran disillusionment in the Civil War. We are lost! Some people during the war make money doing illegal businesses and after the war, the subaltern class bears the brunt of the anomaly.
Asked by bookragstutor. "WHERE IS THE LOVE" BLACK EYED PEAS CHARACTER DEVELOPMENT THEMES&SYMBOLS GLADYS AMBITIOUS FLIRTATIOUS DISCOURAGED THEMES Gladys’ moral deterioration. Things begin to take shape for him and his family.
However, as a result of the war, which took the life of Achebe’s friend and a foremost modernist Nigerian poet, Christopher Okigbo, the war experience couldn’t have been documented in novel form, the readily available medium was poetry and short story. The first point of meeting was at a check point manned by the Biafran militia. It is he that gives and takes, he is the end and the beginning, thus, “Nothing Puzzles God.” He collects 20 as “ex-gratia award for the rebel money he had turned in.” (85). He is a critic of contemporary writings. The spirits of such stories as The Sacrificial Egg and Dead Men's Path are antique at the present of the narratives. No civil war again.
Copyright 2020 by BookRags, Inc. The dialogue between the gang leader and Jonathan reveals the diseased state of society: “We no be bad tief. How does Chinua Achebe use imagery in Girls at War, and Other Stories? Thus, he should have been projected with more realism, bringing out his reaction to a degenerate world. When he protests the delay, she reminds him, “you people gave us this job to do.” (104). (107)The stories have their short comings notwithstanding. The bicycle has its own historiography, but at the end of the war, it assists his in his struggles for revitalization. And he let out a piercing cry and fell down again.” (123)In “Girls at War,” the two dominant characters are Nwankwo and Gladys.
Nwakwo was deeply embarrassed not by the jeers of this scarecrow of rags and floating ribs but by the independent accusation of their wasted bodies and sunken eyes.
Ibadan: Heinemann, 2002.