the aftermath of this is a widening of the divide in their marriage . Nnaife ’ s employer refers to him as a “ baboon ”, implying that Africans were closer related to primates than white Europeans , an insult common in eugenics and colonial discourse . Whilst Nnaife does not understand what “ baboon ” means , Emecheta ’ s authorial voice cuts through when she explains that even if Nnaife knew the word ’ s meaning , he would think : “ His calling me a baboon does not make me one ” ( The Joys of Motherhood , p . 60 ). This attitude of not allowing an insult to affect his own perception of himself is admirable , but Emecheta points out his failure to see that “ Dr Meers ' s laughter was inspired by that type of wickedness that reduces any man , white or black , intelligent or not , to a new low ; lower than the basest of animals ” ( The Joys of Motherhood , p . 61 ). She highlights the dehumanising effects of Dr Meers ’ s colonial sense of racial superiority , and suggests with her emphasis of “ any man ” that there is also an undertone of patriarchal domination - ‘ Othering ’ in order to secure one ’ s own sense of masculinity , just like Nnaife does with Nnu Ego . Stéphane Robolin argues that The Joys of Motherhood reflects “ the conglomeration of hardships experienced by one woman and her community as a result of foreign British domination ( in tandem with interconnected patriarchal customs )”, but I would argue that if Nnu Ego is the “ one woman ” Emecheta focusses on , then she also exposes the effects of colonialism combined with patriarchal traditions on ‘ one man ’: Nnaife . But of course , Nnu Ego suffers more directly as a ‘ double colonised ’ woman .
‘ Double colonised ’ refers to the position of someone who is subjugated on two levels , usually in that they are under the heel of both patriarchy and colonialism . Emecheta demonstrates this when Nnaife ’ s only option for work is to leave Lagos to serve colonialists in Fernando Po , leaving Nnu Ego to fend for herself and child . Nnu Ego makes a meagre living selling blackmarket cigarettes at her market stall , but even still , her child , Oshia , is starving : “[ He was ] lucky if he had a good meal a day ” ( The Joys of Motherhood , p . 161 ). Emecheta not only describes his physical suffering , but subtly suggests that in the eyes of his colonial oppressors he is not a human being valued by his personality or even material possessions , as “ all Oshia seemed to have now […] [ was ] this unhealthy-looking stomach ” ( The Joys of Motherhood , p . 155 ). This is an essentialist perspective common in colonial discourse , in which colonial subjects are only defined by their physical attributes with no regard for humanity . Nnaife ’ s absence from the household and their subsequent massive increase in poverty reflects the patriarchal structure of society in Lagos . Ironically , although Nnu Ego does not respect her husband and he abuses her , her position is far worse when he is forced to leave her in order to work for his colonial oppressors once more . Emecheta furthers the implication that colonialism enhances patriarchal subjugation when Nnu Ego is no longer able to buy cigarettes : “ she could only see soldiers in khaki uniforms strolling along the marina […] there was a shortage of cigarettes ” ( The Joys of Motherhood , p . 170 ). Now that World War II is under way , there is a huge presence of the British Army who are presumably the ones buying the blackmarket cigarettes Nnu Ego was relying on to survive . Furthermore , as part of the war effort , Nigeria was forced to increase its population tax and reduce its social spending , and the British Empire banned the importation of ‘ non-essential ’ goods . Emecheta is indirectly referencing all these policies which make life so difficult for native Africans like Nnu Ego when she returns to Lagos after visiting her clan : “ It was as if she had been away nine years , not months . Things had become doubly expensive ” ( The Joys of Motherhood , p . 252 ). All these social pressures add to the tension around Nnaife ’ s masculinity , epitomised by the scene in which he attacks his wife with the guitar he so loves , symbolically
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