The Nigerian civil war (aka the Biafra War), which was fought between Biafra, located in southeastern Nigeria, and the rest of the nation from 1967 to 1970, has provided a fertile ground for African writers to dramatize the problem of the African nation-state. As expressed by Eldred Jones (1983), committed writers have taken it as their responsibility to confront ‘this traumatic conflict’, and consequently, have produced ‘a whole corps of new novels’ (p. viii). Central to the present discussion is that most of these ‘new novels’ have been written by men, and that studies of Biafra war literature have been male-focused. Craig McLuckie, for example, does not mention even a single woman writer in his (1990) book-length study except in two brief notes. Another book-length study by T. Akachi Ezeigbo is even more disappointing, since the critic is a wellknown feminist, and still she provides only a diffuse survey on war literature without any clear feminist perspective. This critical neglect can be partly ascribed to the women writers themselves, for most of their texts are no more than autobiographical sketches. The reason why few ‘authentic’ works about war are written by women is that instead of describing terrible battlefields or the dirty politics behind them, they tend to delineate the home front and familiar everyday life in a plain, down-toearth style using their own experiences, as exemplified in Never Again by Flora Nwapa.