PROJECTION OF THE GIRL-CHILD IN NIGERIAN CHILDREN’S LITERATURE: A STUDY OF SELECTED WORKS OF AKACHI ADIMORA-EZEIGBO AND MABEL SEGUN

ABSTRACT

The thrust of this dissertation examines the projection of the girl-child in Nigerian children‟s literature, using Akachi Adimora-Ezeigbo‟s The Prize and Seyi’s Strong Voice alongside Mabel Segun‟s My Father’s Daughter and My Mother’s Daughter. The research aims at exploring new ways to reintegrate the girl-child into private and public sphere that is devoid of stereotype and under representation. As a result of this, liberal feminist theory is used to question the underline assumption of the projection of girl-child in the Nigerian children‟s literature. This research employs the use of qualitative research method of gathering information. This method enables the researcher to discover that the manner in which the girl-child is portrayed has either positive or negative impact on the child reader‟s approach, consciousness, perception and disposition of gender appropriate behaviour. In addition, it is discovered that children who are very impressionable should be exposed early in life to the kind of literature that is aimed at bringing out the best in the girl-child irrespective of cultural background or upbringing. However, this research provides alternative role models who can inspire the child-reader to be productive and adopt an egalitarian attitude. Furthermore, that children‟s literature is a powerful tool used to create improving social awareness regarding the girl-child‟s ability and potentials. To this end, this research projects that the girl-child is also an indispensable being that could contribute toward the positive development of the Nigerian nation.

CHAPTER ONE

INTRODUCTION

1.1 PREAMBLE

The place of a girl-child in the Nigerian society has influenced literary interest. This is why, some scholars and writers like Adimora-Ezeigbo, Segun Mabel, Ameh Teresa Oyibo, among others have continued to express interest in themes that border on the representation of the girl-child in the Nigerian children‟s literature. In line with the mimetic demands on literature, Nigerian children‟s literature often depicts the social limitations that the children are confronted with especially on the basis of gender roles prescribed by the society. Being a product of a patriarchal structure, most often, the girl-child is often imbued with varying experience(s) of discrimination. In recent times, there appears to be a gradual shift in the way and manner a girl-child is being treated. As a result of this, some Nigerian children‟s literature writers, being a product of the society, reflect the girl-child shifting roles in their literary texts. As a current process, some writers of Nigerian children‟s literature have adjusted their literary lenses to focus on alternative reading and presentation of the girl-child. This is brought into lime light through a creative rejection of underrepresentation and marginalisation of the girl-child‟s character and capabilities.

Issues that surround the maltreatment of the girl-child in the Nigerian children‟s literature have become prevalent fields that need to be taken into consideration. These motifs indirectly have impact on the development of „new‟ Nigerian children‟s literature. In line with this discovery, there is an on-going quest by some writers of Nigerian children‟s literature to portray the girl-child in a new light. This research taps into this on-going quest to examine the projection of girl-child in Nigerian children‟s literature, by drawing inferences from selected works of Akachi Adimora-Ezeigbo and Mabel Segun.

The interest of this research stems from the understanding that children are intelligent, thoughtful and tactical human beings who often have insight into the world around them. Hunt (2005:1-2) posits that just as children‟s books do not exist in a vacuum (they have real, argumentative readers and visible, practical, consequential uses)…childhood is an important phase in our lives (as is almost universally acknowledged), and that children are vulnerable, susceptible, and must be protected from manipulation. The words of Hunt buttresses the fact that, literature is not left out of the several endeavours that shape the life of a child. It regularly reflects culture, norms and traditions of any particular society it seeks to project to the child-reader. This could be easily carried out through the use of simple languages, illustrations and pictures. These aforestated tools can easily make a child identify with the girl-child in children‟s literary texts. In addition, children‟s literature is a genre that is instrumental in challenging the hegemonic views of the girl-child. It embroils projecting the girl-child in divergent ways. This is made visible through what children read and see in the course of reading their literature(s).

Nigerian children‟s literature consistently shapes the thinking or view of Nigerian children towards the girl (ren) gender. It develops them into a strong and competent member(s) of the Nigerian society. As such, there is the need for an early exposure of a child-reader to new trends in showcasing the potentials of the girl-child. This will aid the child-reader to find suitable role model(s) and change thinking pattern. All aforesaid indicate that, it is important to consider how children‟s literature writers have tried to carve out emerging roles for the girl-child. Hence, the place and importance of the girl-child within the context of Nigerian children‟s literature is a matter that requires a critical look.

1.2 Background to the Study

Children‟s literature in Nigeria may be described as a male-centred art. This could be partly true because, most early Nigerian children‟s literature describe the roles of the girl-child sometimes as, silent, played down and deprived. These attributes are painted with the use of undesirable imagery, illustrations and dictions. This research delves into mainstream children‟s literature to capture broken images of the girl-child that are discriminatory and marginalising.

The Beijing‟s Declaration and Platform for Action (1995:166) attests to the discriminatory and marginalised roles of the girl-child that:

In many countries, available indicators show that the girl child is discriminated against from the earliest stages of life, through her childhood and into adulthood… girls are often treated as inferior and are socialised to put themselves last, thus undermining their self-esteem. Discrimination and neglect in childhood can initiate a lifelong downward spiral of deprivation and exclusion from the social mainstream…

The above quotation buttresses the fact that from time immemorial the girl-child is faced with discrimination and treated as inferior at different stages in life. This is also applicable and traceable to the Nigerian society and its children‟s literature. The Nigerian girl-child is being treated as inferior and regarded as a second-class citizen in various phases of life. This ranges from private to public sphere. These discriminations and image of inferiority tend to undermine her self-esteem and worth, thereby having an adverse effect on her personality. Some of these adverse effect include deprivation and marginalisation. Sometimes, these mannerisms could create exclusion from social, political, economic, cultural and religious activities of the Nigerian society. These traits are incorporated into children‟s literature. Consequently, these negative attributes and maltreatment of the girl-child might have adverse effect on the child-reader. Thereby promoting a variety of conflicting or confusing messages and illustrations about the role of a girl-child. Despite the negative picture of the girl-child in traditional children‟s literature, earlier

writers of Nigerian children‟s literature tries to maintain the societal balance in the statuesque of the girl-child. This presupposes that the early depiction of the girl-child in Nigerian children‟s

literature is not  categorically bad, but little is  said to project the girl-child in novel ways.

Typically, some early writers of children‟s literature pay little attention to the “new worth” of the girl-child. In Nigeria, traditional patriarchal ideologies relegate the girl-child to the background.

These ideologies are further intensified and made visible through the marginal and stereotypical

portrayal of the character and experiences of the girl-child in children‟s literature. This could be part of the reasons why some early forms of children‟s literature discourage female (girl-child)

heroism. Donelson and Nilsen (1980:285) trace the place of the girl-child in children‟s literature

from the earliest tradition of storytelling tuough Female heroism has been devalued ever since the emergence of hunting oral narratives…. Whenever men returned from hunting they would narrate their adventures of killing dangerous animals to their wives and children. Consequently, these hunting stories ended up as heroic tales. Such tales were exclusively about masculine encounters because women‟s roles are to give birth, stay at home with their children, and provide an audience for men‟s stories.

Donelson and Nilsen contribute to the perception that girl-children and women‟s activities are

marginalised and insignificant. Early forms of children‟s literature tend to glorify males/boys while girl-child roles(s) are directly or indirectly captured as docile, passive, unintelligent, and

dependent amongst others. These less heroic nature and roles of the girl-child are imported from oral traditions into written Nigerian children‟s literature. Patriarchy system as a way of life, repeatedly nurtures and develops various roles for the

girl-child in the society and the literary space. In the patriarchal system, the girl-child is faced with discrimination, forceful marriage, marginalisation in education, minimal empowerment and employment opportunities. Ezenwa-Ohaeto (2015:60) acknowledges that:

The different ways of socializing the two genders are in accordance with Nigerian culture which prepares them quite in time for the various roles they are expected to play as adults. Part of the result has been that the male child is equipped with skills that enable him to grapple with and be properly equipped for the socio-economic, political and religious matters which will put him on a stronger footing for challenges ahead. On the contrary, the girl child is knitted with housekeeping skills which prepare her to cope with the rearing of children and taking care of her future husband. She is trained to understand that her “glory” lies in marriage, without which she will become a societal mis-fit… (The woman‟s prestige, glory, and beauty are dependent upon her husband/marriage).

Ezenwa-Ohaeto brings to the fore a comparative analysis of the role of boy-child and girl-child

in a typical patriarchal Nigerian society. The aforementioned comparison made by Ezenwa-

Ohaeto points to the different roles that are ascribed and taught to both genders as they grow into

adulthood. The male-child is taught skills that will help him combat socio-economic, political,

religious issues and challenges ahead. While the female/ girl-child is restricted to the domestic

corners  of  the  patriarchal  tradition.  These  domestic  spheres  include  housekeeping,  rearing

children, marriage and taking care of their husbands and children. These activities suggest that,

in life, marriage is the height of a girl-child‟s attainment. Hence, these activities are considered

as the only options available to her. It is presumed that failure to comply, places her at the risk of being considered an outcast.

Mohammad (2017:60) in an M.A dissertation supports Ezenwa-Ohaeto‟s claims thus:

Women are generally expected to fulfil the reproductive role of being mothers as well as caring for other family members while men are associated with productive roles. This gender division of labour tends to appear natural but it is culturally and socially constructed. Women are not given same opportunities in life as men in terms of distribution of power and resources. The attempt to redress the issue of gender equality and equity has led to the rise of feminism as a movement. Some feminists use the concept of patriarchy to explain the systematic subordination of women in terms of women‟s reproductive roles, sexual violence and capitalist exploitation.

Mohammad expresses generally that in the patriarchal world, women are skilfully expected to fulfil the reproductive role and care for others. While the male figure is assigned to be useful in

all aspects without being restricted. To Mohammad, this shows gender as a division of workforce

that promotes acceptable cultural terms and social basis. Mohammad shows her disfavour that women are not given same opportunities in politics and economic system as men. Mohammed

suggests that the challenge to promote impartiality led to the rise of feminism. Mohammedhighlights  one  of  the  arguments  that  led  to  the  birth  of  feminism.  Feminists  in  feminism movement believe that patriarchy subjugates women which is reflective in the use of violence, exploitation and marginalised roles allotted respectively. Mohammed gives a glimpse of women experiences in a patriarchal world, but fails to recognise the role of the girl-child in particular. The girl-child in the argument is treated alongside adult women folks. This limits the chances for the girl-child‟s voice to be heard in the argument. Inspite of all these arguments, some feminists such as liberal feminist also argue against the choices and actions that condition the girl-child in a patriarchal socio-cultural system. Anti-Defamation League (2013:1) confirms that there are bias and stereotypical messages

that are induced into children‟s literature which may have an adverse effect on a child-reader.

Unfortunately, not all Children‟s literature conveys the messages that we want young people to learn. Books often contain the same stereotypes and biases of other media and because children are interested in a story‟s plot and characters, it is unlikely that they will know or consider whether a book includes racist, sexist or other stereotypical messages. If young children are repeatedly exposed to biased representations through words and pictures, there is a danger that such distortions will become a part of their thinking, especially if reinforced by societal biases.

The   position   of   Anti-Defamation   League   shows   that   children‟s   literature   promotes   the stereotyping of the girl-child character(s). Judging from the aforestated, traditional children‟s

literature often portrays a stereotypical representation of the girl-child through the use of words and pictures that create bias views to the child-reader. Writers of these children books are not differently considered either, nor left out of these accusations. The fact that these writers are products of the same biases that are reflected in their literature. Children stereotypical books may be dangerous to the child-reader when repeatedly exposed to it. These stereotypical literary books may work against children‟s self-esteem, thinking and further deepen the child-reader‟s view of the girl-child. In all, children‟s literature is not left out because it provides a viable platform for challenging the degrading and silence image of the girl-child.

Furthermore, cultural practices contribute and influence the traditional roles and experiences of the girl-child. In this regard, Halderman (2000:194) explains that the expectations and appropriate gender role behaviours of children are as deeply embedded in culture and society, as our expectations that the sun will rise in the morning and set in the evening. As a result, Halderman describes the girl-child thus: girls‟ gender typical behaviour mimics conventional „masculine‟ characteristic and that, generally, society endorses masculine behaviours more readily than feminine behaviours. “It therefore follows that the more socially desirable the behaviour, the less likely it is to become the focus of gender atypically therapies”. Halderman‟s view proves that girl-child characters are being marginalised and it may have a negative social influence on the child reader(s). Halderman is of the opinion that, socially accepted behaviours are less criticised, common, usual and normal way of life, which may not necessarily be gender discriminatory. Brinkman et.al (2011:758) opine that the dearth of female characters teaches both sexes that girls are less worthy than boys. Other researchers have conducted their investigations based on the fact that children‟s literature provides girls and boys with standards of masculinity and feminity. Some offer socially sanctioned behavioural models that children may imitate and present a basic model for understanding oneself and others.

Brinkman et.al reiterate the notion that girls are often treated as beings of less worth than their male counterparts.

Cultural pressure makes girls succumb to traditional gender roles. These include being lady like, dependent and being the „perfect girl‟. These characteristics limit their sense of mastery and autonomy. In fact, research suggests that the loss of self-esteem often seen in adolescent girls, can be directly linked to their experiences of gender prejudice. Brinkman et.al acknowledge the fact that the girl-child faces limitations in the society and children‟s literature. In addition, Brinkman et.al analyse results of some investigation carried out by other researchers in which they drew inferences and conclusions. Brinkman et.al believe that children‟s literature teaches girls and boys about standard behaviour as it relates to their sexes. Some of these standards revolve around limiting the girl-child‟s autonomy, freedom, thinking and esteem.

Today, the gradual use of positive portrayal of the girl-child in the Nigerian children‟s literature, has become a favourite subject for critical scrutiny and interpretation. Different attempts are still being made by different writers of children‟s literature to eliminate stereotypes and sexism. The changing trend in the projections of the girl-child in children‟s literary scene, to some extent depicts her in a non-traditional role. On the other hand, it may be believed that any other qualities contrary to the traditional stereotypes may be considered as anomalies. Lehr (2001:193) notes that many children‟s texts tend to show that the strong willed, intelligent, self-managing, disobedient female heroes are anomalies. Lehr‟s position on the new girl-child roles insinuate that her actions and choices contrary to the stereotypical characteristics may be considered as unacceptable to the given norms and values of the society. These further contribute to submerging and silencing roles and traits of the girl-child character. However, there is the need to empower the girl-child with powerful projecting character traits. These would making

girl-child fit into the tasks of modern development. These could prepare the child-reader to be determined, resilient to combat and face persistent biases experienced by the girl-child. Due to persistence in oppression and subordination of the girl-child character(s), writers of Nigerian children‟s literature have seen the need to gradually eliminate negative patriarchal practices in this type of literature. Some of them have considered the need to develop early strategies to educate the girl-child through literary materials. These considerations build in the child-readers new notion about the ability, personality and perception of the girl-child. This is perhaps why Ezenwato-Ohaeto (2016:65) postulated the theory of “CHLIGEEPISM‟S” which is premised on the efficacy of children‟s literature in the struggle against the negative aspects of patriarchy in Nigeria. The idea is to the opposition of negative aspects of patriarchy which involve all the feminist movements, (except radical feminism and some aspect of snail-sense feminism). Paraphrasing the words of Ezenwato-Ohaeto, this theory supports the creation of strong, reliable female characters by the writers of children‟s literature. Children‟s fiction should beget female (girl-child) characters, who have achieved greatness in spite of the tough patriarchal environment they grow. Also, female (girl-child) characters who are not only specialists in home chores, home making, caregiving to their husbands and rearing of babies, but characters who are also great nation builders, specialists in their chosen professions. In addition, girl-child who made great discoveries and contributions that bring changes in their society.

 

Some children‟s literature writers believe in the improvement of the image of the girl-child because, the child-reader may aspire to emulate the girl-child character(s) that have attained greatness in their chosen fields. In addition, the child-reader may learn that domestic and house chores are not only limited to girls or female characters. Ezenwato-Ohaeto (2016:65) buttresses thus:

The presumption is that if writers of children‟s literature adopt gender relations that depict …good relationship, shared responsibility…progressive values and norms, tolerance and the negative effects of gender stereotyping, gender preference and dispossession or deprivation of people‟s right in our society) values as themes in their works, as they tell stories about life, about gender equality an eradication of patriarchy, our children will imbibe and internalise these virtues and appreciate them as values and perceive them as way of life and as part of their developmental experiences. While the female children will aspire to be like those female characters that have achieved greatness in their chosen fields and the males understand that house chores are not meant for girls alone and that they are all shareholders in the family asset(s) whether the girls choose to get married or not, the society will be a better place to live in. Ezenwato-Ohaeto  echoes  that  before  now,  many Nigerian  children‟s  literature  writers  have relegated the girl-child to the background. They often project the boy-child as heroic, brave, independent,  active,  and  intelligent.  The  girl-child  is  depicted  as  an  observer,  a  cheerer,  a domestic attendant, etc.

In view of the foregoing, Ezenwato-Ohaeto is of the opinion that writers of children literature should aim at promoting equality, shared responsibilities, limit gender preferences, and eradicate patriarchal  norms  and values that limit  the girl-child potentials.  Ezenwato-Ohaeto believes that children learn from what they read and it may become their way of life. To

Ezenwato-Ohaeto girls and boys are joint stakeholders in the society. Hence, they should not be

restricted.  Ezenwato-Ohaeto  rejects  the  belief  that  marriage  is  the  height  of  a  girl-child‟s aspiration. He believes that the girl-child can also be an unalienable asset to the society. Some children‟s literature writers have tried to influence the perception of the child-

reader. They project girl-child characters who are self-developed and have full potentials to promote intelligent skills. As such, children literature is an important tool that helps to mend the future of the child reader. It also reshapes the perception of children about the girl-child. Gazda (2015:9-10) attests to this when he states that:

Children‟s literature, specifically, can change children into thinking that their actions are wrong or unhealthy simply because they are girls instead of boys or vice versa. How can a simple children‟s book do this? The actions of the characters in the stories really shape how girls and boys perceive their own actions, as well as the actions of their peers. The fine lines that society expects us never to cross sometimes show up in the smallest of subtleties on a page, and other times, in much more obviously sexist spread. Gazda‟s attestation implies that action of characters, use of language and illustrations use by

some writers depict a reformed image(s) of the girl-child in some children‟s literature. These devices may suggest that the figure of the rebranded girl-child are conceived within and outside the storyline.

To this end, the transformative portrayal of the girl-child also lies in the bid to create new

and positive role model characters to the child-reader. Law et.al (2000:4) posit that:

Books that celebrate courageous women and girls who are portrayed not simply as „spunky‟ or „feisty‟, but are brave, confident female actively shaping their own destinies and breaking barriers to defy stereotypes and societal limitations. Girls need books that will help them recognise, understand, and resist systematic sexism around them, to claim their voices, and to be self-possessed.

This postulation made by Law et.al recognises the fact that, children are affected by the way and

manner the girl-child and women are represented in books. It is indeed necessary to imbue the

girl-child with realistic and strong character. Law et.al believe that these break barriers, undue stereotypes and limitation make the girl-child to recognise, understand and resist any stereotype

and sexism in reality. In addition, female child-readers need books that will make them combat chauvinism, have a positive voice, become independent and self-confident.

In order to provide more insight into the background of this study, it is pertinent to know

about the authors, their works and the texts under study. Akachi Adimora-Ezeigbo is a lecturer,

writer, essayist and administrator. Adimora-Ezeigbo (2016: blog) reveals that:

She was born and raised in Eastern Nigeria but now lives in Lagos. She also lived in different parts of the country-east, north, and west. She has travelled extensively in Africa and Europe and in the United States of America which has contributed to her reading tours. She is partially raised in a rural environment and in the city; she combines these two (2) factors to serve as background and setting for her children‟s stories.

Adimora-Ezeigbo is one of the current practitioners of creative writing in Nigeria. Although, she is largely unknown by many readers. Oloko (2008:2) opines that:

In terms of total output proportionate with her period of practice so far, Adimora-Ezeigbo emerges easily as one of the productive current practitioners of creative writing in Nigeria. Yet, she is largely unknown to many readers, much less to the exotic corpus with dependable opinions that could determine her place in the canon. The vagaries of Nigerian publishing and the absence of a viable reading culture in the country have limited the distribution of her work to the literature classrooms of the nation‟s universities where that featured in under graduate courses in Gender Studies and other similar programmes of reductive readings mounted on „new‟ writers who, writing from the point of view of gender and what it means to women, are too often perceived as challenging established modes of representation. Oloko is of the opinion that Adimora-Ezeigbo is one of the dynamic creative practitioners in Nigeria. Her works are restricted to the academic parlance because of the dying reading culture in Nigeria (most especially the Nigerian universities). Most  of her works are basically for children but her works for adult gain prominence and are used for an undergraduate course such as gender studies. This is because in most of her works; she writes from the point of view of gender and challenges the age long tradition and orthodox representation. As gathered from akachiezeigbo.org/biography.html (2015 n.pag.), she is a member of the Editorial Board of two newspapers in Lagos which are The Independent (1992-1995) and The Post Express (1997-1999) where she wrote editorial feature articles and maintained regular columns. She also held administrative posts at the University of Lagos as Sub-Dean of the Faculty of Arts (for two years) between1992-1994 and also acting Head of English Department in  1997/1998.  Her  achievements  include  being  a  National  Treasurer  of  the  Association  of Nigerian Authors from 1995-1997, Vice President of Women Writers of Nigeria (WRITA),

Member of The International PEN, PEN Nigeria, Association of Nigerian Authors (ANA) and

Women Writers Association of Nigeria (WRITA). Adimora-Ezeigbo shows her preference for writing children‟s literature. Oloko (2008:2) who explains that:

Yet the area in which Adimora-Ezeigbo, Akachi has demonstrated greater prolificacy is in her writing for young readers. Her titles in the genre include the following: The Buried Treasure (1992), The Prize (1994), Alani The Trouble Maker and Other Stories (2003), Whisker the Brave Cat (2005), Red One and the Wizard of Mula (2005), Snake Child and Star Baby (2006), Ezezemale and The Tree Spirit (2006) and My Cousin Sammy (2007). The Buried Treasure and The Prize have been translated into two major Africa languages, Swahili and Xhosa. The frequency at which these narratives have been turned out clearly reveals that for now, Adimora-Ezeigbo is preoccupied with writing for children and the young. Adimora-Ezeigbo wrote literature books for adults but she is more preoccupied with writing

children‟s stories, and poetry. In addition, two of her children‟s stories, as mentioned above,

have been translated into other languages like Swahili and Xhosa. Her works are derived from representations of traditional and non-traditional literary perspectives. They are reader friendly

and deal with current state of affairs. Oloko (2008:10) adds that with a survey of some children‟s

narrative  of  the  writer,  in  which  Osita  Ezenwanebe  reports  Adimora-Ezeigbo‟s  „Judicious employment of her literary talents to suits the special needs of children.

The  Prize  is  one  of  Akachi  Adimora-Ezeigbo‟s  creative  children  books.  The  plot

summary of Adimora-Ezeigbo‟s The Prize has to do with a story of a thirteen years old clever,

intelligent and smart girl named Onyema. She struggles against stereotype and deprivation from her  immediate  family,  school  and  community.  Onyema  went  through  hardship,  pains  and humiliation to realise her dream. This is made possible by assistance from people who believe in her  ability.  These  people  are;  Mrs.  Agu  and  Teacher,  Mr.  Nwiboko.  Onyema  eventuallsurmounts the pressure of the patriarchy syndrome of male dominance and restrictions. She does this  through  her  determination,  hard  work,  and  perseverance.  Onyema  eventually  wins  the

scholarship into secondary school. At such a tender age of thirteen, her father wants her to marry to a rich merchant. She stood up to the challenge and charge, to do what she want. Onyema‟s determined and resilient act lives up to it to the end of the story. Seyi’s Strong Voice is one of Akachi Adimora-Ezeigbo children‟s literary books. The story in Seyi’s Strong Voice revolves round Seyi, an eleven year old girl. Seyi is brave and intelligent. She goes all out to help her family reclaim their image(s). Seyi is determined to free her family from stigmatisation brought upon them by her father‟s alignment. This alignment subsequently led to his death. She challenges the religious and societal statuesque that stigmatise her family and other people living with HIV and AIDS. She tries to promote an egalitarian society which is devoid of discrimination based on sex and alignment. At last, Seyi becomes a strong voice people could reckon with despite her age. Mabel Segun is another author that has contribute positively to the field of children‟s

literature. She is also known as Aig-Imoukeuede or Mabel Jolaose. Mabel Segun is one of the pioneers of Nigerian children‟s literature. She is a multi-talented pioneer in several fields such as sports, general and educational broadcasting, editing, teaching and creative writing for adult and children. Although little attention is given to her literary works, Aiyejina in Otukumefor and Nwodo (1989:132) attest that:

The critical attention given to Mabel Segun to date has been grossly disproportionate to her creative output. This critical neglect is consequent on a number of reasons, one being the fact that literary criticism in Nigeria is still subsequently a male affair and more often than not, only a nodding acknowledgement is granted to the female writers…her substantial output in the area of Children‟s literature also remains unacknowledged by critics who are generally, and unfortunately, apathetic about Children‟s literature. One of the reasons why her works seem to be less popular is because the Nigerian literary world is considered to be men‟s affair and the females are less recognised. This makes her writings for children to be partially less recognised and treated with levity.

She is the founder and a one-time President of Children‟s Literature Association of Nigeria (CLAN), Chairman of International Year of the Child (IYC), Member in the Association of Nigerian Authors (ANA), etc. According to edoworld.net/Mabel Segun.html titled Mabel Segun (2010:n.pag) Mabel Segun has written, Co-authored and edited eleven children‟s books including the classic autobiography My Father’s Daughter and its Sequel, My Mother’s Daughter both of which have formed the subject of university theses and literary articles in Nigeria and overseas. …her stories and poems have been published in over 30 anthologies in Nigeria and abroad. They have been translated into German, Danish, Norwegian, Greek and Serbo Croat. Two of her children books have been translated into Swahili and Arabic, respectively…. Segun is regarded as an expert in Children‟s literature as well as the doyen champion of Children literature in Nigeria through her Literary and academic writings and on account of promotional activities of children….Mabel Segun works have secured her a place in Nigerian literature with contributions spanning decades and covering the major literary genre of children literature, poetry, prose and the essay. Her legacy and accomplishment as one of the pioneer female writers in Nigeria and champion of Children‟s literature have been widely acknowledged by the literary and academic community through numerous awards and distinctions, the most recent being the LNG Nigeria prize for Literature.

Segun Mabel has contributed immensely to the field of children‟s literature through her works. Some of her works include My Father’s Daughter (1965), Friends, Nigerians, Countrymen

(1971), Under the Mango Tree (co-authored) (1980), Youth Day Parade (1983), My Mother’s Daughter (1985), Olu and the Broken Statue (1985), Conflict and Other Poems (1986). These enlisted books written by Segun Mabel, are observe to have made considerable contributions to the writing and emergence of children literature, as well as adult literature. As an expert in children‟s literary field, her works in this arena have earned her considerable recognition. Also,most of her children books are drawn from traditional and non-traditional literary (ranging from stories, poetry, essays, etc.) perspectives, to promote children‟s activities. They are child-reader friendly. Most of the books deal with a transitional stage between an animist past and technological future. Some of these books capture other current situations of the Nigerian society. Segun Mabel is one of the prominent pioneers who have the drive to promote children‟s literature. To crown her diligence in the children‟s literary parlance, earns her quite a number of awards.

Segun Mabel‟s My Father’s Daughter is an autobiographical story. It is a story that captures the experience of a young smart, intelligent, inquisitive, adventurous girl named Mabel. She grows up in a Christian family in a Nigerian community. Mabel is strong willed, with this, she pushes her way through the patriarchal structure to make her will known. Her self-will is carried out to the latter without being hindered. Her interactions with other characters reports the story of Titi. Titi almost became pray to cultural practice and tradition of early marriage. At the long run, Titi devices a means to runaway rather than to be married to a man at such a tender age. Hence, the death of Mabel‟s father marks a turning point in her life style as a child.

The story in Segun Mabel‟s My Mother’s Daughter is a continuation of My Father’s Daughter. The story continues from the demise of Mabel‟s father. Mabel and her brother had to stay with different relatives to survive their trying times. She waded through joy, fear, pains and sorrow of traditional and modern life styles in order to rise to the top. Thus, it is a typical childhood story and transformative responses of the girl-child roles and attributes in a changing Nigerian society.

In a nutshell, there is an interplay on how Akachi Adimora-Ezeigbo and Mabel Segun use their creative literary arts to project the girl-child. Hence, this research takes into cognisance the representations and experiences of the girl-child in the Nigerian children‟s literature.

1.3 The Concept of Children’s Literature

Children‟s literature is a socio-cultural and psychological construct that has continued to evolve over the years. It was shaped and is still being shaped by the economic, historical, political and social factors that exist in the society. There have been various attempts by different scholars to give a clear cut definition of the term “children‟s literature”. Some of these scholars include Hunt, Oberstein, The Nigerian Teachers Institution, Townsend and Osazee among others. These attempt made by different scholars to define children‟s literature, have met with different obstacles that militate against having a single codified definition. Mohammed (2013:141) assents that there is almost no single widely acceptable definition of children‟s literature. This is perhaps owing to its multi-faceted nature and the problem of delimitation between adults and children as well as genres. Oberstein (1996:17) points out that one of the problems in defining children‟s literature arises from the fact that, some books meant for Adult literature are read by children and vice versa. Some writers seem not to give a clear cut definition of the concept of children‟s literature, and its distinctive sub-genres that make up the genre. In addition, some critics and writers believe that some books and literature are meant to be read by children or read to them and some are not.

In the light of Mohammed and Oberstein‟s view, some selected definitions are used in this research. Definitions given by Townsend, Oberstein, Mohammad, and Osazee show the different attempts by scholars to define children‟s literature. Each definition has its distinctive short coming. In the end, a suggestive definition of what constitutes the term “Nigerian children‟s literature” is proffered.

The concept of literature as defined by Townsend (1990:60) are all works of imagination which are transmitted primarily by means of written words or spoken narratives; which are novels, stories and poetry with the addition of those works of non-fiction which by the quality of style or insight may be said to offer experience of a literary nature. In explaining what literature offers, Townsend (Ibid) says that literature is above all enjoyment. Townsend believes that literature enhances creative pleasure and thinking. It could be transmitted through oral or written means in prosaic form, drama, verse or non-fiction like essay, biographies to mention but a few. It also gives pleasure, entertainment and serves as raw materials of life experiences. This stretches one’s imagination, deepens one’s experience and heightens the awareness of the reader. The above definition of literature can be applicable to the salient points that make up the term called “children‟s literature”.

Several scholars have tried to define children‟s literature by drawing inferences from the holistic concept of literature. Definitions of children‟s literature by these scholars are derived from children‟s apparatus, audience, worldview, interest and purpose. Oberstein (1996:17) defines children‟s literature as a category of books, the existence of which absolutely depends on supposed relationships with a particular reading audience: children. This definition pays particular attention to the audience of this type of literature, which are basically children. This definition is in line with what Hunt in Hawkins-Dady (1996:131) rightly says that, it is one of the literature defined in term of its audience. Hunt shows that the role of the child- reader is crucial and significant in the creation, interpretation and distinction of a good writer of this genre (both in content and style). Hence, Oberstein and Hunt‟s definitions did not give definite purpose of children‟s literature. That is, what this type of literature sets out to do. As a result of this, the audience who are basically children is not connected with the aim or purpose of this kind of literature.

Another definition of children‟s literature is stated in The Nigerian Teachers Institution Handbook (2000: Cycles3; Module 10:298) cited in Mohammad (2013:141). Its posits that children‟s literature is a literature written or told to the very young- fairy tales, nursery rhymes, songs, school stories, adventure stories, family stories, legends, myths and so on. This definition of children‟s literature states that this literature is meant for the very young. It could be in a written or oral form; which may be told in a formal (schools) or an informal (at home or playground) setting. It is use to entertain or educate young minds. Hence, this definition tries to incorporate formal and educational stories into children‟s literature. In addition, it gives specific purpose of the genre to its audience- who are relatively children. This definition did not take cognisance of young adult. These young adults are by all means regarded as children.

In  another  instance,  Osazee  (1991:74)  tries  to  define  children‟s  literature  from  the

African perspective as she focuses on African context. Osazee defines children‟s literature as:

That piece of literary creation which draws its matter from the African world view and which is written in a language and style the African child can comprehend. It must be seen as promoting African culture and enable the child or the young adult to understand and appreciate his or her environment better and it must give him or her some pleasure.

Osazee projects children‟s literature as that literary piece that draws inferences from the African world view, languages and style that an African child can easily understand. This helps the child to promote indigenous African ways of life. It enables the child reader to appreciate his or her environment and at the end, it gives pleasure to the child or young adult reader. This does not mean that non-Africans cannot read such literature. Partially, the definition given by Osazee seems to be all encompassing. Its shortcoming is that, it pays particular attention to the African context of children‟s literature; rather than children‟s literature as a whole. This definition serves as a background definition to the concept of “Nigerian children‟s literature”. Nigerian children‟s literature as the name implies can be referred to as a creative art of a Nigerian or a foreigner who is/ are concerned (directly or indirectly) about children‟s literary genre. It could be spoken orwritten literature which draws its subject matter(s) from the Nigerian experiences and ideology or world view. It is written in language(s) and style(s) that the Nigerian child or young adult can easily   comprehend;   which   could   foster  the   promotion   of   Nigerian   culture(s),   challenge inadequacies,  so  that  young  Nigerian(s)  can  understand,  appreciate  their  environment,  but bearing in mind that it is a medium use to educate and entertain the child-reader.

1.4         Statement of the Research Problem

Over the years, the girl-child in the Nigerian children‟s literature has been misrepresented and projected in a stereotype and degrading manner. This shows that children‟s literature is sometimes    marred    with   discriminations,     exploitation,    etc.    Nikolajeva      (2005:149-150) acknowledges that:

The interest in the gender aspect of children‟s literature emerged in the 1960‟s and „70s, as [art of the general interest in a socio-historical approach to literature. The early studies of children‟s books from the gender point of view focused on the gender roles: the way boys and girls…were portrayed, as well as how these portrayals reflected the actual situation in the society…..Since male and female stereotypical traits are opposed to each other, it is easy to present a schematic abstract pattern of “masculinity” and “femininity”: Men/boys: strong, violent, unemotional, tough, aggressive, competitive, protective, independent and active. While Women/ girls are beautiful, nonviolent, emotional, submissive, sharing, vulnerable, dependent and passive. These traditional depictions of the girl-child as enumerated by Nikolajeva have a negative effect on young minds, as they are easily influenced by what they read. In recent times, some writers of Nigerian  children‟s  literature  with  varying  degrees  of  success,  have  attempted  to  modify centuries of misrepresentation of the girl-child. As such, this dissertation projects an alternative reading means in rewriting the image of the girl-child. Thus, children‟s literature has become a distinctive tool used to help children to become responsible and less discriminatory adults. Generally, It equips them with the right moral values with which the girl-child and young readers can confront the age-long traditional stereotypes. Also, it exposes the decadence of modern life and foster gender equality. This research examines issues that concern the girl-child and choose to adopt liberal feminist theory to interpret selected texts of Akachi Adimora-Ezeigbo and Mabel Segun. The liberal feminist theory is used as an analytical tool for this research because it also focuses on girl-child‟s ability to maintain their equality through their own action and choices. In line with this, therefore, the problematic of this study is premised on the assumption that the worth of vining for space and equality in the literary domain is not only reserved for adult female folks. Other related assumptions are premised on the fact that:

• Children‟s literature in Nigeria projects girl-child in a stereotypical manner.

• Children‟s literature writers have used their creative writings to carve an emerging role for the girl-child using the works of Akachi Adimora-Ezeigbo and Mabel Segun.

• Some writers of Nigerian children‟s literature have tried to rebrand and recast the place and importance of the girl-child.

• Liberal feminist theory contributes to the projection of the girl-child.

1.5 Aim and Objective

The aim of this research is to examine the projection of the girl-child through textual interpretation of her innovative potentials and roles in selected works of Akachi Adimora-Ezeigbo and Mabel Segun. Objectives of this research are as follows:

• To illustrate that Akachi Adimora-Ezeigbo and Mabel Segun portray a stereotypical image of the girl-child in The Prize, Seyi’s Strong Voice and My Father’s Daughter and My Mother’s Daughter respectively.

• To illustrate that Nigerian children‟s literature writers have used their creative writings to carve an emerging role for the girl-child using the works of Akachi Adimora-Ezeigbo and Mabel Segun.

• To examine the place and importance of the girl-child within the context of Nigerian children‟s literature.

• To describe how liberal feminist theory have tried to contribute to the projection of the girl-child through some selected texts of Akachi Adimora-Ezeigbo and Mabel Segun.

1.6 Significance of the Study

This research is significant because children‟s literature can be regarded as one of the powerful instruments that have shaped and is still shaping the lives of young readers. Children learn a lot from what they read and it helps to develop their skills.

Akachi Adimora-Ezeigbo and Mabel Segun‟s works are selected because they appear to give a fair representation to issues concerning the girl-child in Nigeria. They have tried to show ways of combatting traditional stereotypes of the girl-child within the context of Nigerian children‟s literature. Children‟s literary texts written by Akachi Adimora-Ezeigbo and Mabel Segun under study capture prevalent concerns of the girl-child in urban-cum country settings in Nigerian. Furthermore, Akachi Adimora-Ezeigbo‟s The Prize, Seyi’s Strong Voice and Mabel Segun‟s My Father’s Daughter and My Mother’s Daughter have been chosen for this research because of their traditional and contemporary approaches regarding issues related to the girl-child in Nigeria. This study is significant because it helps readers have different views about the girl-child and her character in some children literary texts. Thus, it innovatively changes readers‟ mind set about certain stereotypes. Thereby creating the “perfect” character who can serve as alternative role model(s) to the child-reader and inspire them to be productive and adopt a more egalitarian attitude. In addition, this research is significant because the manner in which the girl-child is presented in children‟s literature has an impact on children‟s attitudes, consciousness, personalities and perceptions of gender-appropriate behaviour in the society. This is because what children read and see in their literature tend to limit or make them identify with the peculiar character(s) and image of their own gender (such as the girl-child).

Furthermore, children‟s literature plays a significant role in passing on societal norms and values. Fatunde (1996:408) is of the view that literature for young people is meant to guide the child‟s journey through the complex realities of our world where there is a constant and fierce battle between the forces of good and evil, kindness and cruelty, hatred and love, selfishness and selfless devotion, truth and falsehood. Children‟s literature teaches children about real life experiences and educates them on ways to live. It may help to condition the child‟s mind on how to view or read people around their environment and the world at large. The researcher is of the view that the selected texts can serve as fundamentals tool in sensitizing children about gender differences, preferences and ways to appreciate them respectively (especially girl-child who is the main concern in this research). This research promotes the rewrite of the character of the girl-child from one who is being relegated to an improved one. To show that she could also be regarded as a joint stakeholder in the creative space and nation at large as postulated by Liberal Feminists. As an offshoot of liberal feminism, liberal feminist theory projects an individualistic form which focuses on the girl-child‟s ability to maintain equality through her actions and choices. These actions and choices are reflected in the selected texts.

1.7 Scope and Delimitation

This research uses Akachi Ezeigbo-Adimora‟s The Prize (1994); Seyi’s Strong Voice (2011) and Mabel Segun‟s and My Father’s Daughter (1965) and My Mother’s Daughter (1987). These authors and their texts give vivid descriptions of issues and experiences of the girl-child within the context of Nigerian children‟s literature. Furthermore, both authors depict some emerging roles of the girl-child in Nigerian children‟s literature. Akachi Adimora-Ezeigbo and Mabel Segun deploy innovative means to eliminate stereotypes an Thus, this study focuses on selected children‟s text under study, because these texts are easily accessible to young readers. However, these books can be read by children and young adults (adolescents).

1.8 Research Methodology

This is a qualitative research. It is conducted using selected works of Akachi Adimora-Ezeigbo‟s The Prize (1994); Seyi’s Strong Voice (2011) and Mabel Segun‟s Mabel My Father’s Daughter (1965) and My Mother’s Daughter (1987) as sources for primary data. These texts are used to examine the projections of the girl-child in Nigerian children‟s literature. Materials for critical analysis and reviews of related literature are library and internet based. Other secondary sources include articles, newspapers, journals and textbooks about children‟s literature.

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