62 pages • 2-hour read
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Content Warning: This section of the guide contains discussion of racism, sexual harassment and violence, religious discrimination, and emotional abuse.
Lawino says that Ocol is angry that she does not understand how to tell time or keep a schedule. He has brought a large clock to their home, and Lawino is afraid of it because she doesn’t understand what makes it work. She doesn’t understand how to read it or understand the way Ocol now tells time. She is proud of the clock, however, because visitors to the home are always impressed by it. Instead of using a clock to know exactly what time it is, Lawino follows the Acholi tradition of observing the world’s natural rhythms to have a general sense of the time. She watches the sun’s position in the sky and observes when cattle are brought home at the end of the day.
Lawino is confused by Ocol’s grouchy demeanor in the house; he does not want their children to make any noise, and he does not like when people come to visit. None of this makes sense to her because she thinks a home without the noise of children is one that has experienced infertility. She tries to follow the schedule of her children’s needs and does not care whether things happen at exact times.
Still, Ocol mocks Lawino for not knowing the European names for the phases of the moon. She retorts that the Acholi only have one name for the moon and do not need to know its phases because the wet and dry seasons in Uganda are determined by the rains. Ocol mocks her for not knowing their children’s birthdates; Lawino retorts that she knows what season they were born in and can tell how old they are by looking at them. She does not understand how Europeans keep track of dates and is particularly confused by dates seeming to move backward toward the year of Jesus Christ’s birth.
Ocol does not like that Lawino is not a Christian and remains an adherent to the traditional Acholi religion. Lawino explains her personal history with Christianity, revealing that she has considered becoming both a Catholic and a Protestant at various points but decided against both branches of the religion for different reasons. Her oldest sister, Erina, has converted to Protestantism, and she remembers joining Erina at church one day. Lawino was terrified when the minister offered the congregation the body and blood of Christ to eat and drink, and she ran out of the church feeling sick: “O! Protestants eat people! / […] They exhume corpses / For dinner!” (75).
At a different time, she attended evening classes at the local Catholic church but did not understand the priest’s sermons (delivered in Latin) or the Acholi teacher’s lectures, finding them meaningless. One evening, she was in class while a traditional Acholi dance was occurring outside, and she could hear the drums outside. As the teacher drunkenly shouted phrases in Latin at them and the students repeated the phrases back, Lawino grew increasingly agitated. She heard the chorus of musicians singing her song and beckoning her to the dance, began to think of how much more meaningful the dancing songs were than the Catholic teachings, and ran out of the building to join the dance. The teacher followed her and the other girls to the dance and began groping Lawino’s breast. She spat in his face, and he threatened to dismiss her from the class. She didn’t care because she was not going to attend any longer regardless. Lawino moves on to say that all the teachers and priests in the Catholic church have a lecherous attitude toward women.
Ocol is also upset that Lawino has not taken a Christian name. He has christened his children with names that she does not understand the meaning of and cannot pronounce, and he calls all the names she likes Jok names. Lawino is proud of her name, especially the “Bull name” that was given to her because she was chief of girls. She goes on to list various Acholi names and their corresponding meanings and reiterates that she does not find white names to be as meaningful, saying that they sound like gibberish to her.
Lawino recalls that when she attended Catholic classes, the teachers and priests hated students asking questions but seemed eager to collect donations to the church. Priests, nuns, and teachers alike would all get angry at her when she tried to ask questions about the religion, and she did not understand why. As a result, she is left with many unanswered questions about the Christian god and how he created the universe. Ocol also does not like it when she asks him questions; he tells her that she is insulting him with “Typical questions from village girls./ Questions of uneducated people” (87).
Lawino therefore has nobody to ask her questions to. She knows it is not wrong to ask questions, but she also knows that she will get no answers, and this makes her frustrated and angry. She continues to ponder her questions in silence while completing domestic tasks. One thing that continues to confuse her is the immaculate conception; in Acholi culture, women who are engaged to be married are encouraged to have sex with their fiancé as soon as possible, so it does not make sense to her that Mary could still be a virgin despite being married.
Ocol criticizes Lawino’s use of traditional medicine (Lawino’s father was a diviner priest), telling her that it is superstitious. He tells her that her family members are dirty and disease-ridden and will spread illnesses to their children. He will not let neighbors, or even his own mother, enter the home because of their poor hygiene. Lawino finds this all very insulting and does not understand why he calls her superstitious when she knows that Christians also have superstitious practices.
Ocol acknowledges that sometimes Acholi medicines work, but he thinks this is accidental. He also acknowledges that not all patients are healed in European hospitals. He will not allow Lawino to go to the diviner priests who claim to cure the diseases that she believes are caused by Jok. He even went so far as to chase the priest away from their house and threatened to cut down an Okango tree that was growing on his father’s shrine (this tree is revered as sacred in Acholi culture). His mother threw herself on to the tree to protect it from his axe, and he was forced to walk away.
Lawino does not understand European medicine and is very comfortable relying on the healing practices she learned from her mother. She believes that there is always a social cause behind illness, and she is convinced that when her son becomes ill, it is because he has been cursed by a community member. She does not believe in accidental misfortune, and she does not believe that the European hospital can cure these curse-based ailments; only diviner priests can. She believes that larger societal misfortunes are caused by discontent among the ancestors and that these issues can be solved by the clan elders completing certain ceremonies. Ocol calls her a pagan for these beliefs, but Lawino refuses to believe that white medicine is any better than Acholi medicine. She concludes that medicines of all kinds work only when an individual has not reached their allotted time of death and that when that time comes, no medicine can help.
Lawino reports that Ocol has become completely consumed by his work as leader of the DP. He is obsessed with achieving “Uhuru” (a commonly held tenet of Pan-Africanism that takes its name from the Swahili word for freedom), but Lawino is not convinced by these principles because Ocol is actively hostile to his own brother. Ocol’s brother is a member of the UPC, and Ocol is convinced that he is a communist trying to destroy the country with poverty. Lawino does not understand what communism is or why Ocol believes she should be afraid of it. She agrees that poverty would be bad but also knows that if something were to happen to Ocol, she would become his brother’s wife according to tradition, and she does not see the point in antagonizing family.
Ocol’s brother is also hostile, claiming that the DP consists of stupid men who are overly beholden to white Catholics. Lawino has hosted many DP leaders in her home and knows that although many of them “have really numbed heads / Like the head of [her] husband” (106), others are very intelligent. She does not understand what Uhuru means, practically speaking, if families like her own cannot even achieve unity. She is worried that independence will collapse because of the hypocrisy of politicians like her husband and their failure to effectively communicate with the common people.
Lawino blames reading for all of Ocol’s recent behavior. She believes that books have emasculated him and filled his head with ideas that are hostile to the traditional Acholi way of life. She likens Ocol’s study to a dangerous forest, telling listeners:
If you stay
In my husband’s house long,
The ghosts of the dead men
That people this dark forest
[…]
The deadly vengeance ghosts
Of the writers
Will capture your head,
And like my husband
You will become
A walking corpse (115).
She addresses Ocol, telling him that he is subservient to white men, like one of their dogs, and that this is not befitting of his status as a prince of their chiefdom. She calls on the community to mourn the death of their prince and the loss of all their young men, who have been indoctrinated in schools and emasculated by books.
Despite his failings, Lawino has hope that Ocol can change his ways. She puts forward a proposed plan for curing him. First, he should eat millet porridge and fish soup. Then, he should eat omwombye root to clear his throat, lurono (White’s ginger) root to loosen his tongue, and lukut (grass) to soothe his knees. He should let the people pour simsim (sesame) oil into his ears to clear out what he has learned in European schools. He should remove his glasses and the scales that she believes formed over his eyes while he closed them to pray. He should clear his eyes using labikka (black-jack) seeds and rhino horn powder. The diviner will help heal the blindness caused by books, and eating lapena (pigeon pea) and olim (sycamore fig) will further clear his throat. He must force himself to vomit to get rid of the shyness he learned in church. Then, he must brush his tongue to clean it of all the insults.
Once all of these physical remedies have been completed, Lawino tells Ocol that he will be ready to make offerings to his ancestral shrine, where he will beg for forgiveness and the restoration of his manhood. She asserts that the abusive language he has used against her is, in fact, abuse aimed at their entire culture and that his threat to the Okango tree was a threat to remove himself from his heritage altogether. Once he has begged forgiveness at the shrine, she says he should go beg forgiveness from his mother. She concludes the song by telling him that she only has one request once he heals: that he stop distancing himself from her and “Let no one uproot the / Pumpkin” (120).
With the disappearance of Clementine, Lawino focuses her anger more squarely on Ocol in the second half of Song of Lawino. Though Ocol has always been the source of her frustrations, and though she has always clarified that point, Clementine’s presence in the text partially masked Lawino’s major grievances. She is particularly concerned with what she perceives as the loss of his masculinity, exclaiming in the final chapter, “I am sick / Of sharing a bed with a woman!” (119). Whereas in the first half of the poem, Lawino had a primarily positive understanding of femininity, she condemns anything that makes Ocol seem feminine. This attitude highlights the importance of traditional Acholi gender roles to Lawino’s idea of what a functioning marriage looks like.
Moreover, Lawino perceives Ocol’s femininity as being of a distinctly negative variety—that of witchcraft. For instance, when she is irritated by Ocol’s medical beliefs, she asserts, “[H]e treats his clansmen / As if they are enemies” (101), and then notes, “Ocol behaves / As if he is a witch!” (101). This association of witchcraft with the rejection of Acholi community implicitly ties Lawino’s understanding of witches to her understanding of Clementine, a woman who has rejected her native culture. In this way, Lawino reveals that her complaints against Clementine are intrinsically tied to her complaints against Ocol and that both characters represent, for her, a dark form of femininity that rejects community and custom. Likewise, she remarks of Ocol’s desire to have a clean, quiet house:
Who but a witch
Would like to live
In a homestead
Where all the grown-ups
Are so clean after the rains,
Because there are no
Muddy fat kids
To fall on their bosoms
After dancing in the rains
And playing in the mud? (68).
Once again, Ocol’s life choices are so bewildering that the only explanation she can imagine for them is the influence of (evil) witchcraft. The passage also reflects Lawino’s complaint that a quiet home implies infertility. This is a particularly loaded charge given her complaints that Ocol has been emasculated, but in the context of the poem’s depiction of National Conflict on a Domestic Scale and Patriotism in Tribalist and Nationalist Contexts, it also reflects anxiety about her people’s future: Traditional life, including traditional gender roles, has been disrupted in such a way that the well-being, if not existence, of future generations is at stake.
Underscoring this point, it is not only Ocol who she believes has fallen victim to a loss of masculinity. In Chapter 12, she remarks on what are presumably authors’ photographs on the backs of Ocol’s books, describing them as “Dead faces of witch-looking men and women, / [..] Bony-cheeked, angry revengeful looking people” (114). In her mind, the portraits are the vengeful ghosts of white people, and the books transform into a dangerous haunted forest, where “Their [the Acholi young men’s] testicles / Were smashed / With large books!” (117). In this metaphor of the “dark forest,” Lawino ties together the concepts of whiteness, witchcraft, and femininity into one entity that threatens the young boys of her community. The verb “smash” has an onomatopoeic quality that viscerally evokes the sound of the books destroying the testicles, giving Lawino’s warning a concrete impact. This use of violent imagery is particularly notable because it is more in character for Ocol. Over the course of Song of Lawino, Lawino has had a rhetorically sharp voice but is usually gentle in her use of imagery. Her choice to describe such a moment of violence toward the end of the poem indicates how passionately she believes in this cultural emasculation. For her, Ocol is merely one instance of a widespread cultural attack on Acholi gender roles.
By the end of Song of Lawino, therefore, Lawino has explored what she believes to be the positive and negative aspects of femininity and how those feminine archetypes relate to masculinity. Constructions of gender sit at the heart of her cultural perspective and are starkly different from the concepts of gender that European colonizers have attempted to impose on her and other Ugandans.



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