No Longer at Ease, written by Nigerian author Chinua Achebe and first published in 1960 by Heinemann, is the second novel in Achebe’s African Trilogy, positioned between Things Fall Apart (1958) and Arrow of God (1964).
The book blends postcolonial fiction and social realism, exploring the moral and cultural tensions of Nigeria in the transitional period before independence. Achebe, often regarded as the father of African literature in English, was deeply invested in portraying African societies from within, countering colonial stereotypes.
In No Longer at Ease, Achebe crafts a poignant portrait of a man caught between tradition and modernity, exposing the corrosive effects of systemic corruption while reminding us that personal failings cannot be separated from societal pressures. Its greatest strength lies in its ability to humanise a moral downfall without condoning it.
Table of Contents
1. Background
Achebe situates No Longer at Ease in a Nigeria experiencing rapid political change. The protagonist, Obi Okonkwo, is the grandson of Okonkwo from Things Fall Apart.
Whereas Okonkwo’s struggle was with colonial intrusion, Obi’s conflict emerges from the contradictions of a hybrid society: an African man educated in England, returning home with lofty ideals only to find himself trapped by economic obligations, cultural expectations, and the subtle coercions of power.
2. Summary of the Book
2.1 No Longer at Ease Plot Overview
The novel opens in medias res with Obi’s trial for accepting a bribe:
“For the first time since he had been in court he felt slightly nervous.” (Ch. 1)
Achebe immediately dismantles the suspense of what happened, focusing instead on why. The narrative then shifts to Obi’s past, recounting his scholarship to study in England, awarded by the Umuofia Progressive Union (UPU) — an investment of the community in their “brightest son.”
While abroad, Obi studies English rather than law, frustrating the expectations of his sponsors. Returning to Lagos, he secures a position in the civil service. The glamour of the city, the burden of repaying the UPU loan, and his family’s financial needs quickly strain his budget.
Romantically, Obi falls in love with Clara, a nurse he met on the ship from England. Their relationship is complicated by her status as an osu — a member of a caste traditionally considered untouchable. Obi’s mother threatens to kill herself if he marries Clara, leading to heartbreak and guilt when Clara has an abortion and their engagement ends.
Financial pressures mount: the UPU demands repayment, his family needs constant assistance, and his income cannot match his expenses. Initially, Obi refuses bribes with pride —
“He knew he would not be like other men, weak and contemptible.” (Ch. 5)
But slowly, necessity erodes his resolve. The first bribe he accepts seems like a momentary lapse, but soon it becomes a pattern. The novel closes where it began — with Obi’s conviction, a tragic echo of the cultural and moral collapse he embodies.
2.2 Setting
The novel moves between Lagos — Nigeria’s bustling, modernising capital — and Obi’s home village of Umuofia. Lagos represents opportunity but also moral hazard, a place where “the air smelt of money and quick deals.” Umuofia, by contrast, is tied to kinship obligations, communal pride, and the weight of tradition. The duality of these settings mirrors Obi’s divided self.
3. Analysis
3.1. Characters
- Obi Okonkwo – A tragic figure whose moral decay is gradual and painfully human. Achebe paints him with empathy but not absolution.
- Clara Okeke – Intelligent and independent, yet constrained by societal prejudice as an osu. Her relationship with Obi is one of the novel’s most poignant threads.
- Obi’s Mother – Represents traditional authority and the unyielding moral code of the past. Her ultimatum reflects the intergenerational clash at the heart of the book.
- UPU Members – Embody communal aspirations but also the pressure that transforms personal achievement into communal debt.
3.2. Writing Style and Structure
Achebe employs a non-linear structure, opening with Obi’s fall before tracing the arc of his rise and decline. His language is economical yet deeply evocative, weaving proverbs and Igbo idioms into English narration. For example:
“When the moon is shining the cripple becomes hungry for a walk.” (Ch. 4)
This blend grounds the narrative in its cultural context while maintaining accessibility for an international audience.
3.3. Themes and Symbolism
- Corruption and Moral Compromise – Achebe does not present corruption as a simple matter of good versus evil, but as a systemic condition nourished by poverty, colonial bureaucracy, and unrealistic social expectations.
- Cultural Duality – Obi’s life is a constant negotiation between Western modernity and Igbo tradition.
- Symbolism of the Ship – The voyage from England to Nigeria symbolises Obi’s transition from idealism to disillusionment.
- The Title – Drawn from T.S. Eliot’s The Journey of the Magi, it reflects the alienation felt by someone caught between two worlds:
“We returned to our places, these Kingdoms, but no longer at ease here, in the old dispensation, with an alien people clutching their gods.”
3.4. Genre-Specific Elements
As postcolonial social fiction, the novel excels in its realist depiction of Nigeria’s late colonial bureaucracy, social stratification, and urban-rural contrasts.
Recommended For:
- Readers of African literature and postcolonial studies.
- Students examining corruption as a systemic phenomenon.
- Those interested in intergenerational cultural conflicts.
4. Evaluation
Strengths:
- Sharp social commentary without didacticism.
- Complex, morally ambiguous protagonist.
- Rich cultural detail and symbolism.
Weaknesses:
- The romance subplot, while emotionally impactful, is abruptly curtailed.
- Some secondary characters are underdeveloped.
Impact:
Achebe’s portrayal of corruption has enduring relevance, especially in societies where public service remains entangled with personal obligation.
Comparison:
Like Ngũgĩ wa Thiong’o’s Petals of Blood, it links personal downfall to systemic flaws, but Achebe’s focus is more intimate and character-driven.
Reception:
While overshadowed by Things Fall Apart, the novel was praised for its psychological realism and sold steadily as part of Achebe’s trilogy.
Adaptations:
No major film adaptation exists, though the book is widely taught in African literature curricula.
5. Personal Insight & Contemporary Relevance
Reading No Longer at Ease today, the statistics on corruption in postcolonial nations underscore Achebe’s timelessness. According to Transparency International’s 2023 report, over 60% of surveyed Nigerians believe public officials are corrupt — a haunting parallel to Obi’s fictional case.
The novel’s educational value lies in showing how corruption is not just a moral failure but a socio-economic trap — a perspective that can shape civic education and anti-corruption policy discussions.
6. Quotable Lines
- “We returned to our places… but no longer at ease here.” (Title Epigraph)
- “Proverbs are the palm-oil with which words are eaten.” (Ch. 1)
- “The impatient idealist says: ‘Give me a place to stand and I shall move the earth.’ But such a place does not exist.” (Ch. 15)
7. Conclusion
No Longer at Ease is an unflinching yet compassionate exploration of how good intentions can collapse under societal weight. Achebe’s genius lies in refusing to separate personal failure from systemic flaw. For lovers of postcolonial fiction, African literature, and morally complex storytelling, it remains essential reading.
