The Bride Price

Buchi Emecheta

The Bride Price

Buchi Emecheta
43 pages1-hour read
Fiction
Novel
Adult
Published in 1976

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Background

Content Warning: This section of the guide contains discussion of child death, physical abuse, emotional abuse, and gender discrimination.

Historical Context: The Colonization of Nigeria and Postcolonial Nigerian Literature

Buchi Emecheta’s The Bride Price is set in late-1950s Nigeria, a period of immense social and political transition as the nation worked toward independence from British colonial rule in 1960. British presence in Nigeria, which began with trade and missionary work in the mid-19th century and culminated in formal colonization, deeply reshaped indigenous societies. A key instrument of this transformation was the establishment of Christian missionary schools. These schools, run by organizations like the Church Missionary Society, introduced Western education, literacy in English, and Christian theology (Sulaiman, F. R. “Internationalization in Education: The British Colonial Policies on Education in Nigeria 1882-1926.” Macro Institute Journal of Sociological Research, vol. 3, no. 2, 2012). While this education created new opportunities for social and economic mobility, it also introduced divisions between European values and traditional Nigerian ways of life. As seen in the novel, this Western education became a means to gain employment in colonial establishments and was viewed as a path to higher social status. The protagonists, Aku-nna and Chike, are products of this system. Their Christian, Western-style education gives them a worldview that clashes with the rigid traditions of their village, Ibuza, particularly regarding marriage, gender roles, and social hierarchy. This conflict is a central tension in the novel, reflecting the broader societal shifts occurring across Nigeria at the time. 


Emecheta’s 1976 work is part of a larger literary movement known as postcolonial Nigerian literature, which emerged during the era of decolonization. Writers like Chinua Achebe, who’s often called the father of modern African literature, sought to reclaim African narratives from colonial perspectives. Achebe’s seminal 1958 novel, Things Fall Apart, famously depicts the destructive impact of British missionaries and colonial administrators on a pre-colonial Igbo community, giving an authentic voice to a history that had been largely written by outsiders (Mongredien, Phil. “Things Fall Apart by Chinua Achebe.” The Guardian, 31 Jan. 2010). Emecheta, writing with 20 years’ hindsight, continued this project but with a specific focus on the female experience to explore how colonialism, tradition, and modernity intersected to shape the lives of Nigerian women in the late 1950s. The Bride Price examines how the promises of Western education and romantic love collide with patriarchal traditions, dramatizing the struggle for self-determination for women like Aku-nna.

Authorial Context: Buchi Emecheta

Buchi Emecheta (1944-2017) was a Nigerian-born British author and a prominent voice in African literature who focused on the experiences and perspectives of women. The Bride Price’s interests in female rights and dignity, and the impact of cultural tensions between tradition and modernity on women’s lives, is characteristic of her work more generally.


Emecheta has described herself as a “feminist plus” and is widely regarded as a pioneering feminist author of Anglophone literature interested in the compounding effects of intersectional deprivation. Born in Lagos, Nigeria, in 1944 to Igbo parents, Emecheta fought for her own education from a young age, persuading her family to let her attend school alongside her brother. At 16, she married Sylvester Onwordi, to whom she had been promised since age 11. In 1962, she joined him in London, England, where she raised five children while working and pursuing her education, eventually earning a degree in sociology. Her marriage was unhappy and often violent, and writing became an outlet for Emecheta. As noted in the introduction to The Bride Price, Onwordi burned her first, handwritten manuscript of the novel after seeing himself in the character of Chike. She then rewrote it with a more tragic ending, channeling her feelings of pain and disillusionment into the fictional narrative. She went on to publish the book, followed by many others such as In the Ditch (1972) and The Joys of Motherhood (1979).


The struggle for personal, female independence is a central theme in Emecheta’s work. She saw education as a girl’s primary gateway to freedom and was an outspoken advocate for women’s rights and gender equality (Cobbinah, Angela. “How African Writer Gave Women and Girls a Voice.” Camden New Journal, 16 Feb. 2018). The Bride Price reflects this position through the protagonist’s perspective, making explicit that Aku-nna’s wish to continue her education is partly driven by her fear of a customary early arranged marriage. In doing so, the novel emphasizes 15-year-old Aku-nna’s childlike unfitness for marriage to argue that adolescent girls should be in school and not sold as brides. The novel also details prevalent attitudes toward the education of girls, with characters asking, “Why waste money on her?” (74). Okonkwo, Aku-nna’s avaricious uncle, sees her schooling as a temporary means to exact a higher bride price, permitted only until she meets the accepted threshold for marriage by having her first period. Through fictional characters like Aku-nna, Emecheta’s work dramatizes the destructive consequences of patriarchal customs and critiques the subjugation and devaluation of women.

Cultural Context: Midcentury Igbo Cultural Practices

The central conflicts in The Bride Price are rooted in specific Igbo cultural practices and beliefs prevalent in the mid-20th century. Three of the most critical to the novel are the osu caste system, arranged-marriage traditions, and the belief in the ogbanje


The osu caste system was a rigid form of social stratification that designated certain individuals and their descendants as outcasts. Historically, an osu was an enslaved person, living apart from the “freeborn” (nwadiala) members of the community. Osus were considered property and were socially ostracized; intermarriage between an osu and nwadiala person was taboo, believed to bring shame upon the family (“Comment: Nigeria’s Traditional Osu Slavery Practice Was Stopped, but the Suffering Continues.” UCL News, 1 Feb. 2024). Although enslavement was illegal in Nigeria by the 1950s and a 1956 law in Eastern Nigeria officially abolished the osu caste system, its effects remained prevalent, especially in rural communities, dividing the status of those whose ancestors were osu from those whose were not. In The Bride Price, Chike Ofulue is from an osu family, routinely referred to by other characters as a “slave” family. The love between Chike and Aku-nna violates this social order, making their relationship an act of rebellion. The novel also explores the paradox that osu families, as outcasts from traditional Igbo society, took advantage of Western education and employment opportunities, often becoming wealthier than their nwadiala neighbors as a result. This context informs the resentment of the community toward the Ofulue family and Okonkwo’s refusal to accept a bride price from Chike’s father, despite the Ofulues’ willingness to increase the amount.


The novel critiques the marriage practices prevalent in midcentury Nigeria, exploring the impacts of arranged (and forced) marriages and the customary marriage of girls upon reaching puberty, regardless of their individual maturity or inclination. The eponymous bride price, or ime ego, is central to this argument. Traditionally, this was a payment of money, goods, or livestock from the groom’s family to the bride’s father or male guardian, formalizing the bond between the two families (Chukwuebuka Okechukwu, Michael. The Igbo Heritage: Reflections on the Igbo History, Philosophy and Social Identity. 2025). This practice constituted the social contract of marriage between the families and legitimized any children born from the union. As the novel explores, a high bride price could be demanded for a beautiful or high-status girl; by the 1950s in Nigeria, Western-educated girls and women also often commanded a higher price, especially in urban communities, as their earning potential was considered to be greater. Although legal marriage was officially contracted in 1950s Nigeria through a church or registry ceremony, the bride price was considered the necessary process for social legitimacy, requiring the agreement of the bride’s father to the marriage. As the novel shows, the superstition that a woman whose bride price was not paid (or accepted) would die in childbirth was used to socially enforce compliance with parental choices. 


Aku-nna’s marriage is considered imminent when she has her first period at age 15. The novel states that, of Aku-nna’s age cohort, “few of them ha[ve] yet married though the majority kn[o]w that this approaching Christmas w[ill] be their last in their fathers’ houses” (101), indicating that 15 is a usual age for marriage in Ibuza. Later in the novel, Aku-nna’s young age and small size are identified by the Western-style doctors as the reasons for her difficult pregnancy and death following childbirth. 


Finally, the concept of the ogbanje shapes Aku-nna’s identity in the novel. An ogbanje is a spirit child believed to be trapped in a cycle of birth, early death, and rebirth into the same family. Aku-nna’s smallness, frailty, and frequent illnesses lead her extended family to believe that she’s an ogbanje, a belief that she internalizes. Some modern scholars have argued that the predominance of this belief was a pre-medical means to explain the symptoms of sickle-cell disease, a genetic disorder prevalent in West Africa (Nzewi, E. “Malevolent Ogbanje: Recurrent Reincarnation or Sickle Cell Disease?Social Science & Medicine, vol. 52, no. 9, 2001, pp. 1403-16).

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