There is a great discrepancy between how Buchi Emecheta's book is received and reviewed inside her own country of Africa and outside of it. There is also a discrepancy between how African male and African female critics review her work. The discrepancy goes so far, in some instances, that the criticism becomes lost in a void of silence.
Female writer Professor Osayimwense Osa, for instance, in a 1996 essay published in Research in African Literatures declares that The Bride Price is a "masterpiece of African children's and youth literature that sophisticated younger readers will find as satisfying reading." Writing from a great distance from Africa, male critic Richard Cima in the Library Journal, says that Emecheta "in addition to presenting a fast-moving story with characters the readers can care about, the author gives a fascinating picture of pre-independent Nigeria."
The Bride Price is a "captivating Nigerian novel, lovingly but unsentimentally written," says Valentine Cunningham in the New Statesman. Emecheta creates "a world of ballad-like simplicity, enlivened by tenderly beautiful descriptions." Cunningham also states that Emecheta has proven herself, with the creation of this book, as a "considerable writer."
But Rosemary Bray in the Voice Literary Supplement (as quoted in DISCovering Authors) declares that "Emecheta is a prophet without honor." In other words, Emecheta is speaking out of the silence that male African writers have created in reference to the African woman. Emecheta is also speaking into a silence, in some regards, as the audience for whom she most wants to write—African women—often do not have access to her books.
Both the silence and the lack of honor multiply the closer Emecheta's work is examined, especially when it is examined under the microscope of feminism by male African critics. African literature has until recently been void of any female voice. Even today, African literature is dominated by male writers who have tended to depict female characters as being completely satisfied with their lives and their subjugation to African men. The emergence of female writers, such as Emecheta, challenges these male assumptions that include not only the female's submission to the male but also her approval and pleasurable response to that submission. Therefore, it is understandable that these African male writers do not like the image of the African women that Emecheta creates. Katherine Frank in World Literature Written in English claims that Emecheta's novels "compose the most exhaustive and moving portrayal extant of the African woman. She exposes and repudiates the feminine stereotypes of male writers and reveals the dark underside of their [male African writers] fictional celebrations of the African woman."
Emecheta's books, if not totally ignored or overlooked by African male critics—who dominate that country's writing—are criticized, in general, with a negatively charged tone. Cynthia Ward, in her article "Emerging Perspectives on Buchi Emecheta," puts it this way: Emecheta's "work has been and continues to be a catalyst for passionate debate over issues concerning the role of African women within their societies, cross-cultural experiences of gender and identity-formation, African 'patriarchy,' the responsibilities of the artist to her nation and culture and even what constitutes the canon of African literature: several African literary critics...
(The entire section is 806 words.)