Rethinking Monstrosity and Subversion in Nnedi Okorafor’s Who Fears Death
Abstract
The concept of monster or monstrosity is not new in African fiction. Monster characters exist in folklore, fantasy, and horror fiction. In many cases they are cast as villainous, unnatural, and horrific. Monsters are portrayed as conduit for supernatural communication. They are constructed to serve cultural roles of reinforcing conformity and policing boundaries. Monsters are also constructed as subversive characters whose existence is not bound by societal norms and conventions but whose boundless freedom opens up doors to possibilities of wish fulfilment. The above significantly influenced the choice of Nnedi Okorafor’s Who Fears Death, as primary text. Who Fears Death offers multi-perspective approach to concept of monstrosity. There is a cultural perspective where superstitious beliefs and prevailing anxiety influence monstrosity. In the text, this perspective is embodied in the culture of Okeke people. It is a potentially fallible perspective as it can transmute even a morally upright person into a monster. Onyesonwu, for instance, is treated as a monster because she is half-caste. Another perspective ascribes monstrosity to an entity depending on their premeditated actions and attitude. This view holds that monstrous characters subject others to untold misery, inhumanity, and harm usually for selfish reasons. This article borrows Gothic concept of monster and postulations from theorists like Jeffrey Cohen to analyse monstrosity in the selected text Who Fears Death. In Gothic fiction, monster character represent vice, unnatural and deviations from regularity attributed to life and nature. The article finds that monstrosity should not be determined by individual’s propensity, uncanniness, or cultural beliefs but rather by actions and attitude which cause harm, hurt or destruction. The findings also affirm that acts of subversive acts are laudable if it they help undermine oppressive cultural practices
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Copyright (c) 2023 Robert K. Sum, PhD
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