Feminism as an Escape from Restrictions in so Long a Letter

Introduction

In her feminist novel So Long a Letter, Mariama Bâ uses the protagonists Ramatoulaye and her close friend Aissatou to convey her messages of criticism of culture and religion and the implications these have on society, particularly on women. As Ramatoulaye is depicted as a conservative feminist, the addressee of her letter, Aissatou, is shown as a radical feminist, evident in the manner in which they respond to the situations they find themselves in. A conservative feminist might not challenge decisions profoundly but rather assume a less hands-on approach, not acting contrary to the limits set for them. In contrast, a radical feminist steps out of their ‘comfort zone’ and tackles situations stringently, standing against any form of injustice served towards them and often acting 'upon their emotions'. Faced with similar challenges, Aissatou reacts more independently, making unexpected choices for a woman in that society during the post-colonial period. Meanwhile, Ramatoulaye, in a more orthodox manner, remains content, settling and compromising against the desires of her heart in the name of abiding by culture and religion. This essay scrutinizes the effectiveness of Bâ’s use of juxtaposition and parallelism to convey her message that feminism is a rewarding method of escaping the cultural and religious shackles imposed upon women and is the way forward for African women in the novel.

Feminism as an Escape from Restrictions in So Long a Letter

Bâ introduces Ramatoulaye's nature early in the novel to present the conservative feminist. From the very beginning, she informs us of Ramatoulaye’s docile, submissive nature, where she refuses to react against her emotions and is uncomfortable with her co-wife’s existence in her life. Bâ writes, “The presence of my co-wife irritates me. She has been installed in my house for the funeral, in accordance with tradition” (Bâ, 1980). This quote shows the strong repercussions culture brings upon the women of Senegal through the writer’s choice of words. The word “installed” suggests an object placed or fixed somewhere forcefully, thus dehumanizing Binetou and questioning Modou’s reasons for marrying her while informing the audience of Ramatoulaye’s scorn for her co-wife Binetou. Despite expressing her disconcert, she does nothing in protest, familiarizing the audience with the true nature of the conservative feminist.

Her friend Aissatou’s actions, which make a significant statement of her character, convey the radical feminist nature of Aissatou. When Aissatou defies the cultural expectation that “a woman does not need much education” (Bâ, 1980) and pursues further education upon leaving her marriage, eventually earning a job at the embassy, she demonstrates her radical feminist nature. Her persistent nature to advance radical feminism in this society is evident by going against the cultural expectation of remaining docile and submitting to men. This decision is unexpected, as shown through Ramatoulaye’s reaction: “You had the surprising courage to take life into your own hands” (Bâ, 1980). The use of the word “surprising” shows the unfamiliarity of the decision. “They enabled you to better yourself. What society refused you” (Bâ, 1980). This illustrates the impeding characteristics of Senegalese culture and its detrimental effect on women’s lives. Through the quote “the first quality of a woman is docility” (Bâ, 1980), we see society’s low regard for women’s social progression. Thus, it was extraordinary for Aissatou even to succeed, let alone in the way she did. Aissatou’s purchase of a Fiat 125 for Ramatoulaye, after hearing about her struggles with public transport, shows her persistent and independent character—traits often associated with radical feminists. Criticism from many, including Mawdo’s mother and Modou, who believed “a goldsmith’s daughter had no heart” (Bâ, 1980), only pushed Aissatou further to change the norm. Bâ’s vivid descriptions and focus on Aissatou’s persistence, thoroughness, and determination depict her as a role model for Ramatoulaye, representing feminism and the rewards it can bring to women, allowing them emancipation from the servitudes of culture.

Juxtaposition of Feminist Ideals

The two sides of feminism and their respective ‘representatives’ are juxtaposed and examined to depict the more fruitful one when both their husbands, Mawdo and Modou, remarry. The traditional practice of polygamy induces emotions of anger in both women, sufficiently portrayed to the audience. Ramatoulaye perseveres through her tattered marriage despite her dislike for her co-wife, who disrupts her marriage and her connection with Modou. Ramatoulaye’s discomfort was no secret, and she “cried every day” (Bâ, 1980) in despair. Despite calls from her children to divorce Modou and “do what aunty Aissatou did” (Bâ, 1980), she remains in the marriage where her love for her husband has not faded, yet his own for her is gone. Aissatou, upon Mawdo’s marriage to young Nabou, even in despair, decides to leave the marriage, which she sees as non-beneficial to her well-being as it brings sadness, even though Mawdo “still loved her” (Bâ, 1980). These scenarios depict the burden polygamous relationships—a prominent aspect of Senegalese culture and the Islamic religion—impose on women, binding Ramatoulaye to this ‘toxic’ marriage. Aissatou’s reaction is that of a strong, self-sufficient woman, finding comfort in books and immersing herself fully in them to expand her knowledge, eventually overcoming her despair much faster than Ramatoulaye did. This statement made by Aissatou challenges the idea that “a woman does not need much education” (Bâ, 1980). The scenario shows the difference between the two types of feminism, indicating that feminism was a rewarding method of dealing with the issues that face women. Even though radical feminism bore results faster than conservative feminism, both women eventually are freed from the hurt they suffer and can move forward, stepping past the challenges. This effectively shows the collaboration of women in feminism as a whole to achieve a common goal and demonstrates that feminism is the route towards an equal society where men are no longer placed above women, rather than a competition between radical and conservative feminism to determine which is ‘better’.

Conclusion

These techniques of parallelism, juxtaposition, imagery, characterization, and paradoxes set a robust foundation for the larger picture Bâ sought to encapsulate in her audience's minds: the criticism of culture and religion in African society towards women. Through this, it is undeniable that her themes, ideas, and objectives were attained, and her intended message of ‘feminism for all’ was received by the audience as she envisioned it. This was also aided by the epistolary form, allowing readers to understand the book from a personal point of view, that of a Senegalese woman who experienced society's prejudice firsthand. The narrative demonstrates that while different approaches to feminism exist, they ultimately strive for the same goal: liberation and equality for women.

References:

• Bâ, M. (1980). So Long a Letter. Heinemann.