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A few months ago I discussed Tsitsi Dangarembga’s 1988 novel Nervous Conditions in the context of feminist writing and postcolonial literature. Today, I’ll like to talk about this remarkable novel in a slightly different context: coupled with George Eliot’s classic 1871 novel Middlemarch. Published over a century apart and set against very different backdrops, these two novels are nevertheless tied together by many surprising similarities.

+ Multiplicity. Like the widely read classic Middlemarch, Nervous Conditions emphasizes the multiplicity of women’s voices and experiences. Dangarembga takes this a step further, demonstrating that so-called “Third World women” also possess a multiplicity that deserves to be recognized. Tambu’s (the narrator) mirror-like statements framing this novel remind the reader that although the story may be her own, it is also that of others. There is multiplicity in wholeness, just as it requires a plethora of women’s voices in order to establish and maintain a thriving tradition of women’s writing.

+ Challenges facing women. Both novels discuss rather taboo challenges facing women that are not often brought up in everyday conversation. Through Dorothea Brooke’s tense relationship with her husband Edward Casaubon, Eliot shows that marriage is not always inherently satisfying and gratifying for women. In Nervous Conditions, Dangarembga tackles the ominous topic of eating disorders. Rather than generalize disorders in the same way that women’s experiences of colonialism have been reduced to inaccurate stereotypes in literature, Dangarembga imbues Nyasha’s “nervous condition” with nuance. Like Nyasha, Dangarembga refuses to remain under the restrictive power of the patriarchy.

+ Opposing idealogical norms. Eliot strives to present a certain form of “moral realism” in her novel and is therefore much more concerned with representing fundamental truths than with recounting the minute details of daily life. One aim of her moral realism is to expose overlooked moments, as seen when Dorothea is disappointedly sobbing on her honeymoon with Casaubon in Rome. The belief that marriage must be flawless and fulfilling at all times is therefore dashed to pieces by Eliot’s realistic gaze, exposing the commonly held romanticized view of this life event. Disenchantment is a vital component of Eliot’s moral realism due to its emphasis on the true representation of an experience rather than one’s idealized, preconceived notions of a situation.

Similarly, Dangarembga opposes the notion that the literary sphere must be dominated by male voices. There is no singular experience of being a woman, meaning that there should be more than one woman’s voice being heard–and read–in the male-dominated literary sphere. In writing Nervous Conditions as a novel about African women and largely for African women, Dangarembga has indeed asserted the perspective of women into the otherwise male-dominated literary sphere of postcolonial writing. By engaging with the idea of multiplicity in the present, Dangarembga strives to ensure a multiplicity of African women’s voices being heard in the future.

While obviously very different, Middlemarch and Nervous Conditions still possess many similarities that may surprise unsuspecting readers. I highly recommend both of these novels, particularly if you’re looking for more literature that focuses on women’s experiences in different socioeconomic classes and cultures.

Click here to check out other Classic Couples from past posts.

What do you think of this classic couple? What other books would you pair with Middlemarch? What are your thoughts on either or both of these books? Let me know in the comments section below!

Yours,

HOLLY