Chinua Achebe's Arrow of God stands as a potent symbol of the complexities inherent in Igbo culture and belief systems. Its portrayal has incited a spectrum of critical responses, reflecting the novel's intricate examination of traditional Igbo religion and the utilization of proverbs. Some critics have found this approach obscure, suggesting Achebe's gnomic storytelling carries unintended humor. Others critique his digressions on Igbo culture as indicative of weak narrative technique. Despite such criticisms, a significant portion of the literary community hails Arrow of God as Achebe’s crowning achievement, praising its authentic depiction of Igbo culture and its deeper exploration of authority—a universal human concern.

Through Arrow of God, Achebe purposefully distances himself from the European archetype of the isolated artist. Here, as in his broader body of work, his aim is to craft narratives that are communal and utilitarian, reflecting the fabric of societal life. Even though the novel returns to a historical backdrop, reminiscent of Things Fall Apart, it draws on the contemporaneous tensions of Nigeria post-independence, much like No Longer at Ease. This duality reflects the historic struggles of Umuaro and its Chief Priest, while symbolically speaking to the newly independent Nigerian state grappling with its identity.

The publication of Arrow of God marked a pivotal moment in Achebe's literary journey, balancing between historical consciousness and modern themes. In 1966, with the release of A Man of the People, Achebe pivoted to a more direct critique of Nigerian politics, deploying satire to comment on the corruption that precipitated the Nigerian Civil War. This shift in focus led Achebe away from novels towards essays, lectures, and poetry, expanding his role as a cultural commentator in Nigeria's post-colonial discourse.