The first aspect of the setup for Ijeoma as a victim of male violence is the war that she had experienced when she was ten years old. The author uses the mood of the conflict as Ijeoma experienced it from the backlines, where the war never came. Even there, there is always the expectation of either being attacked by the enemy or being sent off to fight. As such, the author depicts the changes in the town as it becomes more warlike and prepared to fight. Strictly speaking, war is not necessarily a male phenomenon or limited only to men. However, in the book, it takes on a distinctly male tone, likely due to cultural reasons: “by 1968, our men had begun slinging guns across their shoulders and carrying axes and machetes” (Okparanta, 2015, p. 2). They are not active combatants, but they still arm themselves, whether due to expectations that they will have to defend themselves or to reassure themselves. However, this does not make the violence any less reprehensible or harmful to the victims, male or female.
The second part of the setup is the incident with Ijeoma’s and Ndidi’s homosexual friends, who were beaten and killed with the police doing nothing about it. The author depicts the troubles of Nigerian LGBT+ community members through the imagery of two specific cases: the killing of two homosexual men and the burning of the church where they used to gather. In one case, Ijeoma hears about a pair of men who were beaten to death with the police refusing to interfere or even to take care of the bodies. In the other, a church that Ndidi’s friends used to frequent had been set on fire in the past, as well, representing an overall series of attacks. Both situations are depicted in detail, helping the reader create a mental image of the brutality with which homosexuality is punished in Nigeria. This disdain for homosexuality is not specific to men, as the example of Ijeoma’s mother demonstrates. However, they are more prone to acting violently due to biological reasons, which they have demonstrated through lynchings. The incidents demonstrate that the men in the story are seeking an outlet for their violent impulses and seek reasons to hurt others to satisfy the craving.
Finally, the incident where Ijeoma became a victim of violence at the hands of her husband Chibundu. In it, the author uses foreshadowing to indicate that the man’s anger is not caused solely by her failure to bring him water. Ijeoma’s momentary belief that he has discovered the letters foreshadows their being found later, where it is in turn revealed the Chibundu had known all along. As a result, he decided to threaten Ijeoma with a machete, most likely due to impulsive reasons. He was angry that Ijeoma did not respond to his request for water and assumed that she was thinking about her lover. Once he realized what he was doing, he was ashamed and stopped, but he did not abandon the idea. The threat of him becoming violent again was enough to convince Ijeoma to accept his advances and child-making efforts. The event, as well as the following discussion of the letters, underscores the fact that she is powerless before her husband, as no one will protect her. Male violence toward women such as Ijeoma is normal and expected in that culture, regardless of what it does to the victims.
Reference
Okparanta, C. (2015). Under the udala trees. Houghton Miffin Harcourt.