Gender is the basis for defining norms within men and women. Society expects each sex to follow their respective stereotypes. However, when these gender expectations are unsatisfactory, people face shame and rejection for deviating from the norm. This becomes further apparent in literature, where the authors use their platform to introduce abnormal versions of gender, in this case, masculinity. In the Moonstone, author Wilkie Collins acquaints readers with Ezra Jennings, a social outcast. As a sensation novel, it uses his role to understand the unfairness when being cold-shouldered by people.
His physical deformities and female constitution are obvious to him and others. His closest friend Franklin Blake introduces Jennings by commenting on his odd presence within the community. On the other hand, Adiches Nnamdi in Half of a Yellow Sun represents the ideal African war hero. His fiance begins to introduce him to readers with admiration owing to his masculine qualities. Similar to Jennings, the text vocalizes Nnamdi’s initial successes at masculinity through the lenses of another. Although Ezra and Nnamdi contrast in masculine identities, each defies these traits further into the novel.
This incorporates physical through loss and appearance as well as emotionally. In addition, these texts silently undercut masculine traits that are vital to the plot. Both authors create awareness of larger themes in the text, the flaw of gender stereotypes men face and the lack of placement in communities for deformed men. In comparison, the beginning of these novels differ as to where each character stands. In Half of a Yellow Sun Nnamdi’s fiance promotes manliness within him through her narrative.
This is clear through her description of im, “Sometimes I looked at him and saw what he would have been two hundred years before: an Igbo warrior leading his hamlet in battle (but only a fair battle) shouting and charging with his fire warmed machete, returning with the most heads Tolling on a stick” ( Adiche, 68). Nnamdi’s engagement to the female protagonist is now acceptable by her family because of his machoism. “‘Your uniform is so debonair darling,’ she said, and hung around him as though she was her son, as though she had not muttered that I was too young, that his family is not quite suitable, when we got engaged a year ago” (70).
From this description, the reader gets a sense of him lacking status. Although his family’s wealth is not significant, his presence in the Biafrin war places him on a higher pedestal. Contrasting Nmandi’s manliness is Ezra Jennings. Similar to Nmandi’s Biafran society, appearance plays an influential role in Ezra’s Victorian era. “At one place, the white hair ran up into the black; at another, the black hair ran down into the white. I looked at the man with a curiosity which, I am ashamed to say, I found it quite impossible to control” (315).
This description by Franklin Blake of Jennings presence makes him as a social outcast due to his appearance. His awkward stature, “His complexion was of a gipsy darkness; his fleshless cheeks had fallen into deep hollows, over which the nose projected like a penthouse” (319), opposes to Nmandi’s strong and warrior-like description. Although Jennings similar to Nmandi holds no status, he further lacks male attributes considered manly. Further on in the narrative, Nnamdi loses his manly appeal through physical loses during the Biafran war.
Nnamdi appeared at our door on a dry aired morning with a scar above his eye and the skin of his face stretched too thin and his worn trousers barely staying on his waist” (Adiche, 73). This physical description of Nnamdi through weight loss indicates damage to his manly stature. Already his appearance is starting to mimic that of Ezra Jennings. Additionally, his fiance mentions “He did everything with extra effort now, as if he was compensating for his amputated left arm, as if he was shielding his shame” (83). Using this evidence from the text, the narrator establishes what she thinks of Nnamdi’s deformity.
His once warrior like character has now diminished into someone who is vulnerable, similar to a woman. This widely contrasts with what she once felt, “Pride at his smart olive uniform with the image of the sun rising hallway on the sleeve” (70). As Nnamdi’s masculinity is under scrutiny, Ezra Jennings further declines. Within his late Victorian society, he is an outcast due to the scandal attached to him. In order to complicate his unfavorable position, he admits to having a female disposition. “Physiology says, and says truly, that some men are born with female constitutions—and I am one of them” (2. . 9. 33).
Erza produces a medical excuse about why he cries when Mr. Candy begins to recover. As he is born with a ‘female constitution’, he is at a disadvantage and makes him prone to cry. His disposition in favoring men, namely Franklin Blake also complicates the scenario. In light of the way Ezra holds the secret of illicit and wayward imposing needs, his liaison of homosexual desire further encourages him as an outcast. What Collins and Adiche implement in each character address larger themes within these texts.
Adiche begins with a strong warrior figure Nnamdi, who succeeds at first with his masculine qualities. Unfortunately, into the text, his manliness taints him, to the extent which it deforms him. Although his fiance feels his shame and loss, the other aspects of masculinity no longer matters. It promotes an idea that masculinity is not only about bravery and defending your people, but coming with a win. His defeat also runs on an emotional level, once again addressed by his fiance. “Afterwards, Nnmadi began to cry. I had never even considered he could cry” (Adiche,74).
The shock of a man displaying emotion within the community is confusing, as it contrasts with the idea of a male being strong and undefeated. Additionally, Collins uses Ezra to solve the mystery of the moonstone. Although Ezra lacks in appearance and manly attributes, his cleverness is undercut due to his rejection from society. Also, as a reader Nnamdi and Ezra are characters who depict real emotion to situations. While everyone else in Biafran is unable to cope with reality, Adiche utilizes Nnamdi to evoke emotion from readers by crying.
Similarly, Collins employs Ezra to evoke emotion from readers by showing a more generous, human part of Ezra. Although he exhibits female qualities, he sacrifices his desire for Blake, and help prove his innocence. His addiction to opium is considered a flaw, but it also humanizes him, enough for readers to understand that he is a real character. Throughout both novels, authors create awareness of faulty perception of gendered stereotypes. This promotes masculinity through appearance rather emotion and intelligence.
