Feminism In Response To Betrayal In Mariama BA’s So Long A Letter

Mariama ba published Solong a Letter in 1979. It tells the story of Ramatoulaye being abandoned by his husband. Mariama Ba uses this story to tell the Senegalese cultural norms as well as the social problems facing women and men in Senegal. Ramatoulaye writes letters to share her feelings, growth, and healing from her husband’s rejection. Ramatoulaye’s first letter to Aissatou is found at the beginning. The diary gives Ramatoulaye feelings of emotional and physical pain. The book grows and the feminist voice of Mariama Ba is heard in comforting Ramatoulaye’s heartache. Mariama Ba reveals different aspects feminism in the wake of Ramatoulaye’s betrayal. She speaks about her determination to find happiness.

In this case, Daba, Aissatou and Ramatoulaye all experience betrayal. Ramatoulaye’s betrayal to Ramatoulaye and Aissatou leads to a feminist point of views. Each of these characters develop a feminist perspective as they respond to their betrayal. This allows us to better understand her arguments for feministism. Her encounter could be understood as a symbol for the many personal experiences of women in unfaithful marriages. Polygamy is an accepted culture in Senegal but Ramatoulaye regards it as a betrayal towards women. We see Modou and Ramatoulaye in the novel as scholars who have a greater understanding of the world. Ramatoulaye assumed Modou would take an open-minded decision, contrary to cultural norms. Modou’s decision for Modou to remarry 25 years after his marriage was a surprising surprise to Ramatoulaye. Modou’s treachery was evident in his deliberate act of disloyalty. He is also portrayed as an educated individual, hence the strong words’rejected’ and’mapped’. This leads us to Ramatoulaye’s feminism.

Once the groundwork of feministism is established, Ramatoulaye can be distinguished as a moderate feminist. She sympathises and cooperates with Modou, despite her disloyalty. Ramatoulaye continues her questioning of Modou’s dishonesty. Modou Fall married Binetou because of inner confusion. The use of rhetorical queries again reveals the reflective nature of this text. They show Ramatoulaye’s inner conflict while she questions Modou’s betrayal. She still questions Modou’s motives and asks questions. Modou’s betrayal hurts more because Ramatoulaye was unaware of Modou’s marriage with Binetou. Ramatoulaye’s words’madness and weakness’ indicate that she is looking for reasons why Modou’s actions are so deliberate. She may be in denial to a degree. Ramatoulaye says that Modou’s love overpowers his disloyalty. She can be described as a moderate feminist. This is because she does not take on the entire responsibility for her husband’s divorce or completely reject him. She attempts to understand his reasoning without compromising her innocence.

Aissatou is a revolutionary feminist, and her subtlety contrasts with Ramatoulaye. Aissatous plays an important role in Aunty Nabou’s actions. Aissatou was disapproved of by her daughter, a goldsmith, and she planned to marry Young Nabou. After Aunty Nabou emotionally blackmailed her son and trained Nabou to be a young bride, this ‘controversial marriage” was skillfully disintegrated. Aissatou decided to leave Mawdo, an unexpected and inspiring outcome. Ramatoulaye will always remember her letter. Ramatoulaye is fortunate to have had Aissatou’s letter five years prior to Ramatoulaye. It shows how her humble words had an impact on Ramatoulaye. Aissatou’s letter ends with these words. Aissatou is depicted as angry and completely against Mawdo by using the verb’stripping. The word’stripping” implies that Mawdo is being ripped away from Aissatou’s life. Aissatou is able to use clothing imagery to show her disapproval of Mawdo getting married again. It is important to note that the metaphor of dignity also explains how she will lose her self-respect and pride if she stays with him. Mawdo is left in disbelief when she tells Mawdo of her letter. This is a clear indication that Aissatou truly is a revolutionary feminist who values herself above the dictates society.

Aissatou isn’t the only strong female feminist in the text. Daba Ramatoulaye, Ramatoulaye’s eldest daughter, is also seen as one. Her father may be her best friend and “sugar daddy” to have this effect. These experiences helped her become the radical feminist she is today. Daba demanded the SICAP villa at the beginning of Modou’s book. “As for my little girl Daba, she waved about an affidavit from a bailiff, which was dated on the exact day her father died, and that listed all contents of the SICAP Villa’. This is a testament to Daba’s strength as well as her fierceness. This quote’s significance is poetic justice. Daba, on the exact day her father died, was more concerned about protecting her mother than she was grieving him. This also shows the rift between Daba, Modou. Ramatoulaye continues, saying “You know I am too sentimental.” This display from either side did not please me at all. This shows the difference between Daba’s feminist role and that of her mother. Ramatoulaye clearly is a moderate feminist, compared to the radical Daba.

The text does not portray all women as feminists. Some women in the text are conservative enough to be called antifeminists. Aunty Nabo is an antifeminist who dislikes Aissatou as a goldsmith’s child and deceitfully drives Aissatou away. Young Nabou is brought up by her, and Mawdo, her sole son, is forced into marrying her. Mawdo tells Aissatou: “If I spurn that child, she shall die.” This is the excuse Mawdo uses when he marries Young Nabou. We see men making unjustified excuses for their betrayals yet again. Ramatoulaye recognizes Aunty Nabou’s rigidity and asks, “Faced with this rigid mom, moulded by antiquated morality, burning in the fierce ardour for antiquated laws,”. It is an excellent description of Aunty Nabou. To emphasize her traditional beliefs and traditional views, Aunty Nabou uses words like ‘old, antique’. The word ‘rigid,’ which is a contraction of her name, suggests she is unwilling change. Her old-fashioned thinking style is further reflected in the metaphors of ‘burning and ‘ardour’. This line was highlighted by the detailed description. Ironically, Aunty Nabou is depicted as antifeminist. One could even call her a reverse feminist.

Mariama B has shown that many feminists have a common experience of being betrayed. Mariama Ba has clearly shown that all these roles of feminists have been created in response to pain and betrayal. The book’s ending is more positive. Ramatoulaye states that “it is from the dirt and nauseating humus” that the green plant grows into life. He can also feel new buds growing in him. This is a wonderful ending that celebrates all feminists who refuse to be trampled in their quest to find happiness.