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Abstract
The African woman remains a multiplicity of identities. In ventilating her image, Akachi 
Adimora-Ezeigbo has been consistent in her portrayal of the African woman, her roles, 
placement and the gender bias within cultural and social systems that have been asphyxiating 
for the woman in her narratives. Adimora-Ezeigbo sets out to reconfigure womanhood in 
House of Symbols by creating sheroes: unconventional women in Umuga society. These 
formidable and dynamic female characters are admired for their resilience, courage and 
unrivalled accomplishments in the narrative. This paper adopts Adimora-Ezeigbo's Snail-
Sense ideology in investigating the author's strategy in reconfiguring womanhood in House of 
Symbols. To achieve this objective, the paper examines the lives, experiences and 
achievements of the author's major female characters.  The paper reveals that Adimora-
Ezeigbo's subversive stance against patriarchy in House of symbols is strategic. She projects 
an empowered female protagonist, vibrant female characters and moves away from silencing 
antagonistic patriarchal forces to projecting a rather significant image of the African woman 
that achieves the agenda of reconfiguring womanhood within the context of an evolving 
traditional African society. The paper concludes that, the African woman must be proactive in 
adopting strategic alternatives for achieving self- actualisation and rejuvenation.

Key words: Shero, Snail-sense, Womanhood, Gender-bias, African feminism.

Introduction
Feminists have attempted to reorder our society in diverse ways, subverting systems which are 
arguably perceived to overtly enhance and emphasise male supremacy over the women folk. 
Attempting to reorder and subvert this order with new alternatives are perhaps efforts at 
righting and writing perceived wrongs against the female gender in literature and other spheres 
of endeavour. Also feminists in Africa, it would seem, have made several attempts to devise 
and propagate suitable alternatives to the seemingly prevailing system of male dominance in 
the continent over the years considering the seemingly intemperate and disruptive 
perspectives adopted by Western feminist, and imbibed by some African women and feminist 
to the chagrin of many African men and women alike. Ezenwa-Ohaeto however points that 
feminism as a movement is operational both nationally and internationally and irrespective of 
the difference in ideologies, western feminist and African feminist “share a common point of 
convergence in the models they project: cultural rebirth as it concerns patriarchal practices” 
(61).

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1   2JOY I. NWIYI (PhD) AND   ENE ANN EDACHE
Department of English and Modern Languages

Federal University of Lafia, Nasarawa State, Nigeria
joymips@gmail.com

SNAIL-SENSE SHEROES: RECONFIGURING 
WOMANHOOD IN AKACHI ADIMORA-EZEIGBO'S

HOUSE OF SYMBOLS



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Perhaps, if we must take advantage of the wins and positive potential of the feminist 
movement, consideration should always be given to the context of the African woman's 
struggle and her identity as a woman in Africa; a context complicated by traditional, cultural 
and social practices that form and determine significantly the holistic identity of the woman.  
Thus, Western modes and strands of feminism remain potential tools that have generated and 
are still capable of generating suspicion in modern times considering the African woman's 
reality, worldview, culture and unique experiences (Mary Kolawole, 7). 

According to Josephine Akhire, “feminism in Africa has been a boiling pot of diverse 
discourses and courses of action” and conveys more significance than a mere opposite of 
Western feminism (7). Noami Nkealah however states that “the definition and use of the term 
feminism in African literature poses a number of problems for African women writers and 
critics, many of whom tend to deny any affiliation to the feminist movement, even though their 
writings espouse feminist aspirations. Their detachment perhaps accrues from the 
misconceptions that surround the concept of feminism. Feminism is often interpreted as being 
anti-male, anti-culture and anti-religion in its theoretical framework” (133). It would be 
difficult it seems, to refute entirely that Western feminism among other factors has not been 
responsible for the growth and development of women's resistance to patriarchy and the 
systems that have encouraged male supremacy. 

Considering the complexities that shroud the African woman's existence in modern 
times, Ada Azodo posits that African feminism as a movement caters for the unique needs of 
the women in the continent of Africa. She states that African feminism as a political movement 
does not only raise the issues of sex and gender but also goes ahead to question race and the 
presentations and perspectives from which the African woman is seen and read (202). African 
Feminism according to Naomi Nkealah therefore “strives to create a new, liberal, productive 
and self-reliant African woman within the heterogeneous cultures of Africa. Feminism in 
Africa ultimately aims at modifying culture as it affects women in different societies” (133). 
This suggests that this social movement and framework caters distinctively for the African 
woman, and takes cognizance of the peculiarities of her identity and experiences. Also 
important to this framework is the need to accommodate the variants and strands of feminisms 
on the continent that strive to attend to the peculiarities of the African woman in her society 
given the possibility of cultural and social disruption that come with Europe's Eurocentric 
feminism. This framework emphasises the importance of female roles, self and bodies in 
African societies. It also advocates the inclusion and accommodation of the male folk in the 
gender discourse in African to ensure that they are stakeholders in improving the lot of women 
on the continent. 

Over the years, the African woman has endured a generic representation of her image 
and self against the backdrop of feminism. It is against this standpoint that Obiageli Okolocha 
interrogates the nature and concept of heroism in traditional Nigerian society. Okolocha's 
essay highlights the fact that, the rather typical representation of Nigerian women overlooks a 
significant reality that attests to the existence of powerful women and female figures within 
the trado-cultural sphere of Nigeria, for example. The scholar insists that female power within 
this context usually lies in, and is activated by “the performance of duty to the society, a fact 
that feminist arguments often ignore” (96). Also, Azodo argues that male and female roles in 



pre-colonial African communities were complementary, and that since the advent of 
colonization, the African woman has had to grapple with her fall from a position of power and 
self-sovereignty to becoming man's helper” (201); a stance Oyeronke Oyewumi seems to 
corroborate when she states that the colonial situation produced “a hierarchy of four, not two, 
categories. Beginning at the top, these were: men (European), women (European), native 
(African men), and Other (African women). Native women occupied the residual and 
unspecified category of the other” (122). This has remained the lingering determinant of the 
African woman's status in every space of being even in modern times.

Adimora-Ezeigbo's narratives and imaginative presentation of African women in both 
traditional and modernising society project her stance on gender discourse (bias, 
marginalisation, wars and inclusion) in Africa. Her representation of women in pre-colonial 
and the modernising Igbo society have been a deliberate attempt at repositioning and 
reconfiguring the woman's image; drawing impetus from historical times and traditional 
society where women's roles were accorded due relevance. Thus in her narrative, the woman 
strives to tell us her story, highlighting her relevance in traditional and modern society in spite 
of male dominance and antagonism. Also, we find a representation and construction of 
unconventional women in Adimora-Ezeigbo's narrative. We posit that these women are 
sheroes: a concept which seems to capture the intention and deliberate effort of Adimora-
Ezeibgo in reconfiguring the image of women in social, traditional, economic and religious 
dimensions of existence. According to the Merriam-Webster's Dictionary, Sherois a word that 
has been in existence since 1839. The word which is  a blend of “she” and “hero”, means “a 
woman regarded as a hero” (https://www.merriam-webster.com/dictionary/shero), could be 
used to describe unconventional women in society who are so admired for their quality, 
courage and unrivalled accomplishments. While heroine could be a suitable synonym, the 
word, shero seems to derive its relevance and significance from gender discourse and perhaps 
the deliberate attempt at asserting the female gender; also, with the intent of emphasising and 
highlighting woman and her unrivalled achievements in society. The implication of this seems 
to outweigh “heroine” as a word in this context. Our purpose is therefore to show essentially, 
the dismantling of patriarchy and western feminist's contraptions that seem to deny the African 
woman and her achievements prominence. 

Snail-Sense Feminism as a Theoretical Anchor
Snail-sense feminism is Adimora-Ezeigbo's contribution to the gender discourse, African 
feminism and diverse attempts at its theorisation. While Adimora-Ezeigbo does not 
necessarily refer to herself as a feminist, she acknowledges that she is very passionate and 
concerned about the treatment and empowerment of women. According to the author and 
scholar, in an interview with Ecomium, snail-sense feminism is:

a variant of the womanist principle that does not promote aggression 
in women and in their relationship with men. It seeks to promote a 
kind of balance in women's lives and their relationship with men but at 
the same time, demands that women have an independent mind and do 
what they want to do but not to the detriment of other people around 
them. I call it snail sense because a snail moves over very rough edges 
and thorns without getting hurt because it has their lubricating tongue 

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that allows it to do that. I believe a woman should be like that. In Igbo, 
we say, ire oma ka eju ji aga n ogwu. In a society, a woman should be 
able to tolerate others, work with others and maintain a very humble 
attitude towards others but at the same time be herself 
(http://encomium.ng/professor-akachi-ezeigbo-talks-about-her-
works/).

Adimora-Ezeigbo proposes an accommodating strategy through which women would 
manoeuvre, survive and excel above male dominance as a result of principles and attitudes 
which are self-enhancing, protective and devoid of overt conflict even in the face of stiff 
patriarchal confrontation. So, we find Adimora-Ezeigbo's protagonist and female characters 
represented as sheroes strategising, surviving and succeeding against all patriarchal odds.
The African woman remains a multiplicity of identities. In ventilating her image, Adimora-
Ezeigbo has been consistent in her portrayal of the African woman, her roles, placement and 
the gender bias within cultural and social systems that have been asphyxiating for the woman 
in her narratives. Adimora-Ezeigbo sets out to reconfigure womanhood in House of Symbols 
by creating sheroes: unconventional women in Umuga society. These formidable and dynamic 
female characters are admired for their resilience, courage and unrivalled accomplishments in 
the narrative. This paper adopts Adimora-Ezeigbo's Snail-Sense ideology in investigating the 
author's strategy in reconfiguring womanhood in House of Symbols. To achieve this objective, 
the paper examines the lives, experiences and achievements of the author's major female 
characters. The significance of Snaile-sense feminism as a critical model lies in its 
proposition of accommodation and tolerance as a reaction to the challenge of patriarchy, while 
emphasising the independence and ingenuity of the woman.  The characters and 
characterisation in House of Symbols are therefore premised on this conciliatory strategy that 
Adimora-Ezeigbo proposes.

Sheroes: Reconfiguring Womanhood in House of Symbols
The second in Akachi Adimora-Ezeigbo's trilogy(The Last of the Strong Ones, House of 
Symbols and Children of the Eagle), House of Symbols is the story of the Eaglewoman's life 
and experiences in post-colonial Umuga where the people have accepted the ways and 
practices of the colonial masters owing to the success of colonial intrusion and influence. 
Eaglewoman also known as Ugonwayi is the granddaughter of Ejimnaka, the matriarch of 
Umuga, who resisted British colonial rule alongside her husband, Obiatu in The Last of the 
Strong Ones. This trilogy reconstructs history and life in Uga, Adimora-Ezeigbo's indigenous 
home in Eastern Nigeria in pre-colonial times up until modern times in the 21st  century.

The narrative captures the changed socio-cultural atmosphere of Umuga, a fictional 
community in pre-colonial Eastern Nigeria where women are perhaps presented as just being 
themselves and not necessarily asserting themselves from a background defined by traditional 
myths about the person and ability of the African woman. Devoid of the intolerance perceived 
as a defining pattern of overt feminist narratives, Adimora-Ezeigbo's female characters are 
patterned after an evolving traditional society in which traditional beliefs and powers are 
questioned covertly. This is achieved through her reconfiguration and representation of these 
traditional and religious sheroes as custodians of the very essence of traditional and social life 



in this Igbo community. The possibilities she highlights in these characters such as 
Eaglewoman, Okwudiba and the prophetess, Ezenwanyi seem to subvert the perceived roles 
that attest to gender marginalisation and male dominance. These women thwart portrayals and 
notions of dominant patriarchal structures even in traditional society. Expectedly, these 
women seem to defy the stereotypes and image of traditional African women, some of which 
still hold sway in modern times. Nevertheless, these female characters remain unassuming and 
fair in their relationship with others. It is significant that while they strive to remain 
independent, they tolerate their male partners and successfully negotiate the cultural balance 
for their meaningful existence.   

Eaglewoman, the protagonist of the novel, is faced with a rather difficult decision. At 
two years, Nnenne, who is believed to be a reincarnation of her grandmother, Ejimnaka cannot 
walk. As a Christian, she finds it difficult to accept the call of Ezenwayi, who summons her and 
the child. She makes up her mind with Osai (Josiah Okwara), her husband's intervention to 
visit the prophetess as part of her quest to unravel the mystery behind Nnenne's state. She does 
not visit the prophetess alone; she goes with Osai who supports her till the solution to their 
daughter's state is found. This visit reveals to Eaglewoman and her husband significant aspects 
of their tradition, culture and modern life.

During this visit, Ezenwanyi demands that the couple take the child to see Okwudiba, 
the old woman who “was the greatest storyteller and historian of Umuga before the white 
people's culture and religion cast their shadow over Umuga…” (House of Symbols 37). 
Okwudiba is not only a wordsmith but a historian and custodian of the people's indigenous 
heritage. Her knowledge of the past is unrivalled by men and women alike. This also seems to 
be her motivation for holding tenaciously to the trado-cultural practices of the pre-colonial 
Umuga community even when most of the people including her son, Joel and his wife, Regina 
desert them.  In fact, Okwudiba is astonished at the people of Umuga for embracing 
Christianity, a religion brought by the people who killed their forefathers, and took some away 
into slavery. She swears to have nothing to do with Christianity and western ways of living, 
which is responsible for the distortion of the peace, culture, and tradition of Umuga. She 
refuses to call her son and daughter-in-law by their Christian names but is sensible not hurt her 
immediate family by causing conflict or tension to assert her position and displeasure with 
western ways. In fact, when Okwudiba dies, Joel affirms, “even though we are church people, 
we will give her the full funeral rites she deserves as a great daughter of Umuga and a renowned 
Amaala. Just the way she would want it” (House of Symbols 105). 

Okwudiba is Ejimnaka's inseparable friend in life and death. Transition to death 
remains impossible till she receives the reincarnated form of her friend in Nnenne. This visit 
immediately restores Nnenne's legs and eventually eases Okwudibia, one of Adimora-
Ezeigbo's shero's passages to the world of her ancestors. 

Ezenwayi, the female seer is another force to reckon with. She summons and receives 
guests from far and wide; and from all works of life. People travel from distant lands seeking 
her trade, knowledge and spiritual expertise. Ezenwayi successfully establishes spiritual 
relevance, integrity and success in her hybrid spiritual trade and thus, her patronage remains 
unlimited. She describes her work in Umuga thus:

I stand in the middle of these two religions, building bridges. Only 
bridges can save the world from itself. From disconnection and 

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destruction. Two religions co-exist here without ease. My destiny is to 
bridge them, pull them together and nurture something new which 
draws strength from both” (House of Symbols 49).

Through this visit, Ezenwayi's unique role as a medium between the dead and living, 
and a bridge between Umuga tradition and Western ways is revealed. Thus, we hear from 
Ezenwanyi that Chukwu is man and woman, father and mother; whereas divinity in 
Christianity is represented as masculine and traditional Umuga religious allegiance lies with 
the woman of the lake. Also, Ezenwanyi's house of symbols where she consults as a seer is 
crammed with feminine and masculine symbols; she believes that Chukwu, Almighty God is a 
good combination of mother and father (House of Symbols 52). These metaphoric attempts at 
tolerance do not only heighten the significance and spiritual relevance of women in the 
traditional African society as it were, but project's Adimora-Ezeigbo's stance: balance in the 
lingering gender war and discourse through this tolerance and accommodation. 

As a mother of four, Ezenwayi enjoyed the support and help of her husband until he 
died. She is a powerful woman no doubt, but she is able to contain the influence her access to 
insight from the world beyond confers on her.  She does a good job of taking care of her family 
and minding her trade as a prophetess. For over a year, she patiently summoned Eaglewoman 
with a message from the world beyond without getting offended at her indifference. Ezenwayi 
gives Eaglewoman her personal statement thus, “the work may be tasking as you say, but it is 
not a burden. It is my destiny. I have a call: it is a work that I do with humility and with joy” 
(House of Symbols 44).  Here again, Adimore-Ezeigbo's ideology is highlighted. We find 
resilient Ezenwayi being both successful and humble as she brings succour to her clients, 
garners spiritual power and fulfils her destiny without seemingly upsetting people and socio-
cultural norms.

The novel which primarily narrates the experiences of Eaglewoman, projects a 
changing traditional society with practises and perspectives that trouble women's fulfilment. 
For instance, Eaglewoman is betrothed at eight years old to a man she knows nothing about 
and does not like.  Through this, Adimora-Ezeigbo however highlights the significance of the 
bride-price in the Igbo society and it's implication on the woman. The bride-price is usually 
money and/or property given by the bridegroom to the family of his bride to legalise the 
marriage traditionally. If for any reason the marriage is terminated, the family of the bride is 
expected to return the bride-price to the groom. If this is not done, the woman remains an 
'unused property' of the bride-groom. The bride-price could be paid in advance to the family of 
a betrothed wife and as such, the betrothed girl or woman is considered a wife of the intending 
groom already. 

Thus, Aziagba is destabilised when her daughter, Eaglewoman refuses to marry the 
man, to whom she is betrothed. She meets another man, Josiah as she grows older and breaks 
her engagement to Nathaniel Okeke; an act which makes Eaglewoman and her mother objects 
of scorn and mockery in Umuga. While she considers the severity and cultural implication of 
what this broken engagement entails, Aziagba laments, “who will pay back the bride price and 
who will restore the gifts Okeke showered on my child?” (House of Symbols 7). She objects to 
her daughter marrying another man because, Nathaniel Okeke, has spent enormous material 
resources on her. Traditionally speaking, those materials are said to be a cord, binding the 
would-be couple. Eaglewoman resists her own commodification and insists that Josiah (Osai), 



the man she loves and intends to marry must “cut the cord”. He does this by paying back 
everything given by Nathaniel Okeke to Eaglewoman in cash and kind, before officially 
getting married to her.

Even though Eaglewoman successfully marries Josiah, she lives with these memories 
and Nathaniel Okeke's occasional harassment of her family. Her marriage to Osai 
notwithstanding is not without its challenges: bareness for five years after marriage, having a 
daughter lame in the leg, the death of her son few months after birth and Osai's near-death 
illness. She however surmounts all of these. 

Eaglewoman manages a large extended family with the children of poor relations, 
friends, men, women and admirers looking up to her for guidance and livelihood. They join her 
in the work in her bakery as apprentices and labourers which have not only brought her fame 
but the envy of rivals who wonder at her success and seemingly easy life. Even when Soronje, 
her friend becomes a self-impose rival out of envy, Eaglewoman treats her with kindness. She 
applies wisdom and caution in relating with her. Eaglewoman is a conscientious business 
woman, politician and philanthropist who assist the people of Atagu and Umuga in solving 
their problems. She assists Diribe in getting medical attention at the hospital at Iyenu, where 
the growth in his scrotum is surgically remove. Also, Ezekeke Agu receives free loaves of 
bread from Eaglewoman's bakery. The workers who are involved in the smooth running of her 
business and household also enjoy her kindness.

Eaglewoman displays snail-sense in her home as seen in her relationship with her 
husband and domestic staff. Even though she makes more money from her strings of 
businesses and has a good reputation among her people, she does not lord it over her husband, 
Osai. The author creates a protagonist whose husband does not feel threatened by her success. 
The support Osai offers makes their relationship a complementary one.

Eaglewoman's personality and confidence find expression in her family life, business 
and relationship with Osai, her husband. She is not only loving and respectful to him and the 
entire household but assertive in her thoughts and actions. This is how she gets things done. 
Eaglewoman breaks her childhood-engagement; a norm respected in her society and is 
rewarded with the man of her dreams, Osai. When she marries him, she however makes it clear 
that she is his companion and not a chattel to be maltreated. Eaglewoman wants to be herself. 
Osai however hits her on two occasions as a result of his jealous rage. On the first occasion, she 
returns a day later from a wedding in Onitsha and her explanations do not assuage this jealous 
rage.  Eaglewoman does not react. The second time Osai hits his wife in the feat of jealousy; it 
is because of the visit of Eaglewoman's old schoolmate. Even though she explains the young 
man's visit, Osai hits her to assert himself and ownership over her in a rather crude manner. 

Eaglewoman reacts swiftly unlike the first time and inflicts injury on his shoulder with 
the grinding stone she has been working with. She also reminds him:

Osai, this is not what we agreed, is it? All I ask of you is to be given 
some space to be myself. Is that asking too much? Trust is part of it: 
trust is love's closest companion. I will not be a beast whose back 
receives blows without a murmur… (House of Symbols 205).

Eaglewoman seems to assert herself physically and verbally to retain her sense and place of 
freedom and respect as a woman in her husband's house. Osai's shoulder and ego are wounded. 
As he sits dazed from this injury inflicted by his wife, he seems to console himself with realities 

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that stem from his cultural background and enforce his seemingly superior position as the man. 
In his pensive state, Osai reasons that he owns and married Eaglewoman and not the other way 
round; that he still has the ability to pummel her with blows to teach her place as a woman.  
Nevertheless, Osai is ashamed and becomes a changed man because of this incident as “he 
learnt to love without seeming to possess the object of his love since, as he told himself, that is 
the only path to peace in a relationship such as a marriage” (House of Symbols 207). 
Eaglewoman is remorseful and nurses her husband after the incident to health while he lives 
with the guilt of his action. Their relationship becomes better with mutual understanding and 
respect achieved. Adimora-Ezeigbo's feminist posture accounts for the response and reactions 
between Osai and Eaglewoman and how this incident is resolved. While the author does not 
seem to propose aggression towards the malefolk, with Eaglewoman's action and plea for 
space to be herself, she tries to establish a balance between self-assertion, independence and 
tolerance for mutual respect to be achieved. This accommodating strategy seems to remain a 
consistent feature of African feminism irrespective of its variant. 

The narrative also confirms the determination of the author to highlight women as 
instruments of change. She projects the place of women in governance in modern African 
society through Eaglewoman who displays her ability to function beyond the traditionally 
assigned roles of wife and mother to serve the public in a political office. Eaglewoman 
registers as an NCNC (The National Council of Nigeria and the Cameroons) member and 
despite the opposition, she is able to draw membership and influence the success of her party at 
the polls. Her political strategy is appealing. She pays visits to significant members of the 
electorate, her immediate community and campaigns significantly with kind words, good 
reason and gifts at the grassroots. She does not employ violent or divisive means to win the 
heart of men and women alike.

The author seems to subtly suggest that women may be the answer to the many 
questions surrounding governance that remain unanswered in the continent. Ima Emmanuel 
observes that it is invigorating to find Adimora-Ezeigbo projecting her female characters as 
articulate, proactive and intelligent leaders; this coupled with the intimate and affectionate 
tone through which she foregrounds these women in complementary relationship with their 
male counterparts account for her success as a writer (272).

Conclusion 
Adimora-Ezeigbo reconfigures the image of womanhood in House of Symbols by projecting a 
world controlled by men but predominantly defined by women. The implication we find, is, 
the implementation of subtle possibilities associated with perhaps subverting fixed traditional 
female roles of wife/mother. In achieving this purpose, she presents us with sheroes, women 
who are resilient and diligent at their task. She progresses in her subversive stance as she 
projects an empowered protagonist, Eaglewoman and vibrant female characters: Okwudiba, 
the wordsmith and the prophetess, Ezenwanyi in this narrative. Through these characters, the 
writer moves from silencing and confronting antagonistic patriarchal forces to reinventinga 
rather significant image of the African woman. The African woman is potentially independent 
and is so not to the detriment of others around her. Akachi-Ezeigbo thus creates a balance 
within the context of an evolving African society. The paper concludes that, the African 
woman should be proactive in adopting strategic alternatives for achieving self- actualisation 
and rejuvenation. 



WORKS CITED

Adimora-Ezeigbo, Akachi. “Professor Akachi Ezeigbo Talks About Her Works”. Encomium 
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iher-works/ Accessed 15 Aug. 2019.

 Akachi. House of Symbols. Lantern Books, 2005. 
Ahkire, Josephine. “African Feminism in Context: Reflections on House of Symbols the 

Legitimation Battles, Victories House of Symbols and Reversals”. Feminist Africa 19 
Pan-Africanism and Feminism, 2014, pp.7-23.  
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Azodo, Ada Uzoamaka. “Issues in African Feminism: A Syllabus.” Women's Studies 
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Emmanuel, Ima Usen. “The Last of the Strong Ones: Author: Akachi Adimora-Ezeigbo  
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Ezenwa-Ohaeto, Ngozi. “Fighting Patriarchy in Nigerian Cultures through Children's 
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http://dx.doi.org/10.3968/7217Accessed 15 Aug. 2019.

Kolawole, Mary. Womanism and African Consciousness. African World 
Press. 1997.
Nkealah, Naomi. “Conceptualizing Feminism(s) in Africa: The Challenges Facing African 

Women Writers and Critics”. English Academy Review. vol. 23, no. 1, 2007, pp. 133– 
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Okolocha, H. Oby. “Heroism as Social Responsibility: Decoding the Mystique of “Iyaloja” 
and the Power of Duty in Wole Soyinka's Death and the King's Horseman”. Journal of 
the  Literary Society of Nigeria, issue 7, June. pp. 96-115. 2015.

Oyewumi, Oyeronke. The Invention of Women: Making an African Sense of Western Gender 
Discourses. Minnesota University Press. 1997.

“Shero”. Merriam-Webster.com. Merriam-Webster, 2019. Web. Accessed 15 August 2019.

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