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Plot Overview
It missed Jaja completely, but it hit the glass étagère, which Mama
polished often. Itcracked the top shelf, swept the beige, finger-size
ceramic figurines of ballet dancersin various contorted postures to
the hard floor and then landed after them. Or ratherit landed on
their many pieces. It lay there, a huge leather-bound missal
thatcontained the readings for all three cycles of the year (7).
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I wanted to tell Mama that it did feel different to be back, that our
living room hadtoo much empty space, too much wasted marble
floor that gleamed from Sisi’s polishing and housed nothing. Our
ceilings were too high. Our furniture was lifeless: the glass tables
did not shed twisted skin in the harmattan, the leather sofa’s
greeting was a clammy coldness, the Persian rugs were too lush to
have any feeling (192).
The Nsukka visit leaves the children with a craving for freedom
and self-discipline who by now have been completely docile. The
moment they return home Jaja demands the key to his room from Papa.
Kambili toojoins him in his rebellion and as they, “went upstairs, Jaja
walked in front of me and I tried to placemy feet on the exact spots where
he placed his” (191).
The third part of the novel titled “The Pieces of Gods after Palm
Sunday” narrates how the events lead totheir father’s death by poisoning.
There is oppressive silence in the air in the house as ifsomething is about
to snap:
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top of the garage came crashing down, and lounged on the drive
way like a visiting alien spaceship. The door of my wardrobe
dislodged completely. Sisi broke a full set of Mama’s china (257).
Narrative Perspective:
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events, actions, and things are to come. The story is narrated as she
matures and becomes consciousness of herown sexuality and the social
and political scene. She is ambivalent too:
The common thread that links the four sections of the novel is the
impulse of violence. This violence correspondencess with the urge visible
in public sphere and witnessed in Nigerian tradition and culture. The
theme in Eugene’s family falls in line with the nation and the university.
Adichie portrays the dictatorial leadership at these threelevels, which
thrust hardship. Beatrice Achike is a self-effacing woman, whose
husband has battered incessantly leaving her with several miscarriages, a
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limp, and a scar on her face. Eugene unleashes the same violence on his
children. Their stay at aunt Ifeoma’s house at Nsukka, brings a shift in the
story. Kambili sympathizes with her aunt and despises hermother as her;
“constriction of her possibilities of self-definition and autonomy, her
subjection to the law of the Father, her subsumption under the name of
the husband, and her giving up her identity as a woman” (Grosz, 181) has
dire consequencesfor her children. The children too could not be absolved
of silence in their father’s brutalities and his eventual death.
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altar and how often visitors plucked them as they walked past to
theirparked cars” (9), they still grow luxuriantly. These red hibiscuses
represent the old order, Eugene’s unchallenged tyrannical and
emasculating hold on the family. As Jaja returns from Nsukka, he takes
some stalks of purple hibiscus which is a symbol of his defiance.
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Adichie’s text the role of rough beast has been taking up by characters
like Eugene Achike, the Head of State and the sole Administrator. Their
actions perplex the doings of all other characters of the story and have
now completely replaced Evil Forest. One thing to be heeded here is that,
though the white man has receded but the evil and its prowess in the form
of Evil Forest still remains active. Even in physical and symbolic terms
the forest may have been replaced by a more sophisticated postcolonial
urban world yet the evil has retained its position and role.
The dramatic structure of the narrative set at the very onset and the
first-person narration achieves author’s aim, “Things started falling apart
at home when my brother, Jaja, did not go to communion and Papa flung
his heavy missal across the room and broke the figurines on the étagère.”
(3)
The same has been built vis a vis theme of rebellion. The reader
soon take side with young Kambili and Jaja against their father’s wrong
doings.The complexity of the narrative develops as we are revealed about
the relationship between the father and the mother. Thus, we come across
a narrator in the opening section of the novel who more or less talks to
herself, being unaware of the external forces acting upon in the story.This
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narrative of self-disclosure gathers moss by what she says. When Jaja
rises into revolt the open rebellion internalises further.Throught his clash
between the external forces and internal strife the first chapter of Purple
Hibiscus sets up a narrative pattern that continues throughout the novel:
the constant oscillations between an internal subjective narrator and an
external objective one.
Henceforth, the narrative has been presented from the view point of
Kambili, what she thinks, opines, deduces and comments. She gives out
both her subjective and her objective opinion about the events and
characters around her. This shift gives the needed impetus to the story
and she narrates the story at least from four perspectives:
In the first stage the figure of father looms very large in her world,
the second is the result of her freeing from her father gradually, the third
is marked from the final separation from father the realisation of new
liberal thoughts under the influence of another Father, Father Amadi, and
the fourth is the deliverance of freedom from the old order and the
coming of new order.
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spokesperson of his thoughts. This changes only when the family goes to
their native village and the children pay a brief visit to their grandfather
on Christmas. Jaja and Kambili see their grandfather, Papa-Nnukwu, for
fifteen minutes because he is a heathen, and hence prohibited by their
father to meet him. Yet the meeting this time draws heavy difference
between the luxurious world that Kambili and Jaja live in and the small
world of grandfather.This short visit gives us a direct insight into the
mind of the narrator and its working.
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shadows of her father. From now on, she becomes less and less an
extension of her father, and more and more her own person. Henceforth
the narration entails her independent thinking freed from her father’s
impact.
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perception colours the way she thinks about, observes, and comments on
other people and events. This is immediately clear in her relationship with
Amaka. Kambili and Amaka are of the same age, but the difference in
self-confidenceis clear to Kambili right from the start.
The direct access into Kambili’s mind becomes more regular and
fully unmediated with Father Amadi’s appearance. Love is an intensely
private emotion and it is only the lover who knows how she or he feels.
Kambili’s response to Father Amadi is sensuous right from the beginning.
We learn in the course of the events, thatthis is the same young priest
who had visited their church at Enugu and scandalized the congregation
by bursting into song in the middle of a sermon, and singing in Igbo. the
descriptions of the events have come to us revelations in the novel and
are symbolic of things falling apart, though there is no concrete mention
as to what will be the newer order of things, but the happenings
significantly account for the break of old traditional norms in the light of
newer and radical ideas that can no more be averted.
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on his last day, it is the physical response that re-asserts itself, this time as
anger (280).
The bulk of the narrative has been written in simple past tense, this
signifies that the events took place in the recent past and hence are more
relevant to the theme and progress of the narrative.This pattern together
with the grammatical structure impart a sense of immediacy to the
happenings in the story. This style works effectively to merge the time
sense of the events which are scattered over a period of three years in
one, portraying as if they took place in very recent times and
simultaneously.
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through his tea Kambili will remember the tea as ‘hot’. Through the
repeated use of the word ‘burning’ and ‘scalding’, (290) one can straight-
away recall the horrifying episode of Papa ‘boiling’ of Kambili’s feet in
the bath tub with hot water. Kambili leaves for the readers to link these
scattered episodes and weave them in a knot. This in turn serves to
expose papa’s completely neurotic love for his family.
The narrative voice in the novel provides the reader access into the
narrator’s mind working to reveal her innermost thoughts and feelings.
Though, themajor events in the story happen shortly before the novel
opens, the narrative mode renders as if everything is happening ‘now’.
Except the last chapter, ‘A Different Silence: The Present’, the entire
novel is narrated inthe past tense—the former being in present tense.
These devices bestow the story a sense of immediacy and real at the same
time.
The Dispossessed
39
She shifts from Obioma Nnaemeka’s argument on motherhood stating
that, “motherhood in African texts are based notonly on motherhood as a
patriarchal institution but motherhood as an experience” (1997:5). Lopez
rejects Nnaemeka’s and examines the three texts from the point of view
of daughters.
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making her powerless like her mother, something she now strongly
detests. Lopez claims that she does so in order to prove that she doesn’t
fall in line with mother’s footsteps, “her mother’s passive acceptance of
her father’s tyranny, Kambili recognizes her own impotence, her inability
to rebel or articulate her rage” (90). Adrienne Rich suggests “her
mother’s victimization doesn’t merely humiliate her; it mutilates the
daughter who watches for cluesas to what it means being a woman”
(243).
Ifeoma is the only female character in the novel that stands for
freedom and emancipation providing a role model for Kambili and Jaja.
She not only manages her house hold with dexterity but also abides by
her free and emancipatory values in external affairs, thus working to
bridge the gap between the social and political happenings of her times
and place. Brenda Cooper’s examines Adichie’s holistic vision in her
novel, a vision which integrates Igbo customs and language with Catholic
ritual. She incorporates men into her gender politics and embraces the
literary traditions of her elders—Chinua Achebe, Ngugi wa Thiong’o and
Alice Walker. She finds Adichie contriving to represent the syncretised
world through the material culture and everyday realities of life in
modern Nigeria. In doing so she creates a world where the boundaries
between the living and the dead, the animate and the inanimate, the big
and the small, the literal and the symbolic worlds and things are breached.
She argues that what “we witness in the novel is the attempt to re-imagine
objects linked to precolonial rituals, but syncretised with the church and
with European culture and integrated into a global modernity.” (5)
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that this contradiction may be as a result of Adichie’s ‘womanism’
asopposed to feminism, and the influence of Alice Walker. She adds,
‘womanism’ is “committed to survival and wholeness of the entire
people, male and female” (xi). She compares Eugene Achike to
Okonkwo judging that Achike is worse. She maintains that the problem
of Achike arises from traumatic memories of his early childhood. In fact,
Adichie’s struggle equals those whose voices, “encapsulates this
allegorical struggle for freedom in highly symbolic and thought-
provoking images that haunt the reader for a very long time after he must
have put back the novel on the bookshelf. ” (242)
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atmosphere of Nigeria. Akwanya and Anohu’s essay, they draw a subtle
distinction between the ‘defeat’ and ‘dispossession’ of characters in the
Nigerian novel. They examine the issue of ‘defeat’in tragedy, holding that
the characters experience defeat because of the choices they make. This
defeat lends them the stature of a tragic hero. Okonkwo and Ezeulu in
Achebe’s Things Fall Apart and Arrow of God, are associated with
historical and cultural revolutions. They have the greatness of soul and
face ruin in the face of adversity and not because they lack courage. Their
ultimate fate can be better described as ‘tragic reversal.’ The case of
Eugene Achike is different. He feels dispossessed not due to short
comings on the part of courage, but at the part of his character. He
represents the post war age which has witnessed tremendous social
changes and is unable to maintain a concord with the new social order
and give up the trivialities in the old prevailing system. He is a
representative of orthodoxies in the social fabric, to an extent he is
representative of the coterie who has vehemently refused to change and
accept the new and more radical ideals. Their world is shattered as the
new radical standards turn out to be more successful. Thus, Adichie’s
Purple Hibiscus and Half of a Yellow unravel dispossession briefly
outlining its causes and consequences to their social environments.
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tell a tale in time consciousness, from past to present and vice versa as
does Adichie in Purple Hibiscus.
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familial setup of her father and drives her to register some changes in her
character that are to change the future events of the story. Ifeoma
impinges Obiora: “I do not quarrel with your disagreeing with my friend.
I quarrel with how you have disagreed. I do not raise disrespectful
children in this house, do you hear me?” (245) The novel establishes the
need and importance of respect towards other people so as not to infuriate
them. These two incidents exemplify the different educational thought
maturing in the same society just a few miles apart. Amaka and Obiora
enjoy the freedom to cherish their individualised opinion but at the same
time have to ethical in their conduct by showing grace and respect for
other people, their religion and their way of thinking. These two words
respect and tolerance buzz through the rest of the narrative making the
characters voice the differences in their opinion in an amiable manner so
as to lead to betterment and development of the society as a whole.
45
I asked stupidly not even sure of what I meant, because I could not
think of nothing else to say, because I could no longer imagine life
without Aunty Ifeoma’s family, without Nsukka. (224)
46
“Aunty Ifeoma´s eyes hardened—she was not looking at Amaka, she was
looking at me. O ginidi, Kambili, have you no mouth? Talk back at her!”
(170). It can be said the other way round so as to keep pace with the
development of the narrative that Kambili succeeds I grasping this
education from Ifeoma. Kambili restarts her learning at Aunt Ifeoma’s
house and at the same time finds the same more soothing then the
traditional rigid learning atmosphere of her father. Adichie here seems to
support the modern fun-way theories of learning preached by more
radical educationists.
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Eugene’s house in the narrative is symbolic of imitative education
and aunt Ifeoma house demonstrates intercultural education in the novel.
Kambili who initially learns to imitate her father’s values and submits
wholeheartedly to father’s teaching, when reached Aunt Ifeoma’s house
encounters an intercultural upbringing of children leading to the
development of critical thinking. This intercultural education accounts for
difference forming a unique personality based on active and critical
exploration of the world. Amaka questions Catholicism and follows it.
This contrast in the character is the giving of intercultural and radical
education that Ifeoma upholds in the narrative.
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father. She does both the acts willingly and not merely out of some
external force. Her submission at one time and her defiance of the same at
another time brings out the fact that it is she who innovates her own
ideology, pursues it gives it a concrete shape herself at both the
occasions. Karen Bruce rightly points out that, “Kambili has internalised
her father’s authority to such an extent that it has become an
unquestioned part of the way she experiences and interacts with the
world” (n.d.). Karen Bruce maintains that:
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[Papa] looked sad; his rectangular lips seemed to sag. Coups begat
coups, he said, telling us about the bloody coups of the sixties,
which ended up in civil war just after he left Nigeria to study in
England. A coup always began a vicious cycle. Military men would
always overthrow one another, because they could, because they
were all power drunk.
Of course, Papa told us, the politicians were corrupt, and the
Standard [Eugene’s newspaper] had written many stories about the
cabinet ministers who stashed money in foreign bank accounts,
money meant for paying teachers’ salaries and building roads. (24)
She means to represent both the direct and the indirect speech
which voices the free speech in the novel, one that represents the thoughts
and perceptions of the author itself. The psycho-linguistic phenomenon
whereby the syntax implies an interpretation that turns outto be wrong.
Importantly, although the impression of having encountered free indirect
thought is corrected, the original effect is not entirely subsumed (Leech
and Short, 267).
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This stylistics enables the narrator to internalize Eugene’s views to
an extent that they become narrator’s own. She thus presents a state
where she has no critical difference between her views and her father’s
opinion. Adichie’s art makes it difficult to segregate her views from
Eugene’s, at least at the surface level of the text.
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Eugene’s condemnation of the traditional Igbo culture forms the
very basis of his own faith. His disdain for these ungodly creatures is
accommodated by his daughter, and it is this conduct that results in
formation of Eugene’s faith. It can be said that his religious view are
representational of the inherent fears that the Christian community of
Nigeria lives with and is regularly thwarted with. Kambili unable to
distinguish between his father’s political stance and his scrupulous
religious dogmatism blinds herself with the teachings bestowed by his
father up till a time she is challenged with more logical questions. She
emphatically evocates her father’s rhetoric, among which “it was sinful
for a woman to wear trousers” (80), calls “Papa-Nnukwu is a pagan” (81)
and initially rejects Aunty Ifeoma, “How can Our Lady intercede on
behalf of a heathen, Aunty?” (166)
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Her visit to grandfather’s home and to his shrine intuits her with a
knowledge of religious tolerance and coexistence which hitherto has been
absent in her own home, which has been the colony of Eugene Achike’s
undisputed and unchallenged rule. , “that sometimes what was different
was just as good as what was familiar, that when Papa-Nnukwu does his
itu-nzu, his declaration of innocence, in the morning, it was the same as
our saying the rosary.” (166)
Though Kambili doesn’t comprehend her aunt’s view and still calls
her grandfather heathen and a pagan, yet she kindles her curiosity about
the traditional Igbo culture and its believers.She nourishes her curiosity
for traditional Igbo culture rapidly. After looking at a mmuo and then
averting her gaze asher grandfather tells that women are prohibited to
watch it, she nearly enjoys Eugene considers “devilish folklore” (85) and
adds further: "It was sinful, deferring to a heathen masquerade. But
atleast I had looked at it very briefly, so maybe it would technically not
be deferring to aheathen masquerade" (86). This elaborate description of
the mmuo preceding suggests that Kambili has carefully observed the
masked figure.
The day grandfather dies in aunt Ifeoma’s house, she expresses her
grief in her perceptibly changed priorities:
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Kambili’s narration of having seen but not seen the proceedings of father
Nnukwu’s dead corpse is an indictment of oral implications. She is a
witness of the seen but her refusal to accept the same is symbolic of her
breaking away from her own father’s religious dogmatism. This
development may not be a certificate of change in Kambili, yet it
foreshadows the coming changes that are about to take concrete shape in
near future.
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He turned to me briefly, and before he looked away, I wondered if
the light in his eyes was amusement.
“It is a sin.”
“Why is it a sin?”
I stared at him. I felt that he had missed a line in his script. “I don’t
know.”
I looked away, out the window. I would not implicate Papa, since
Father Amadi obviously disagreed. (175)
The ideas of sinfulness and the concept of guilt, both of which had
preoccupied the narrator’s outlook, disappear from free thought and
vanish permanently.She no longer mirror the traditional Igbo culture as
“heathen” and “pagan”, except once when Eugene is driving children
back home from Nsukka:
I could not let them stay an extra day, Papa said, looking around
the living room, toward the kitchen and then the hallway, as if
waiting for Papa-Nnukwu to appear in a puff of heathen smoke.
(188)
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when she is at Ifeoma’s home. The lines finely draw the strife that was
taking place in her mind:
I did want to talk to Papa, to hear his voice, to tell him what I had
eaten and what I had prayed about so that he would approve, so
that he would smile so much his eyes would crinkle at the edges.
And yet, I did not want to talk to him; I wanted to leave with
Father Amadi, or with Aunty Ifeoma, and never come back. (268)
Kambili finally has distanced herself from her father’s stern views
she still dreams of her father and prey’s for him, which is paradoxical to
the entire setting of the story:
I have not told Jaja that I offer masses for Papa every Sunday, that
I wanted to see him in my dreams, that I want it so much I
sometimes make my own dreams, when I am neither asleep nor
awake: I see Papa, he reaches out to hug me, I reach out, too…
(305-6)
There is one remarkable point that Kambili though rejects the old
fatherly dogmas but did not completely uproot herself from her old ties,
and still remembers her father unlike Eugene who has complete turned
his back towards Papa Nnukwu.
The best part of the narrative lies in the honesty with which
Kambili entails her initial loyalty and final denunciation of Eugene’s
oppression. The narrative is also indicative of the newly found freedom
both at the political and social fronts. The cosmic world of the teenage
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narrator is an epitome of the larger political scene prevalent in Nigeria.
This development, unlike the old one, comes out with better promises and
hints at a better social order. The textual evidence suggest that the morals
and conduct of the old traditional beliefs are neither to be completely
looked down and nor it will be so. Kambili’s, rather Adichie’s, realisation
of the complexities of the Nigerian society and its working needs to be
explored afresh so as to strike a better concord between the old and new
order. It also suggests that, perhaps here in lies the key to a more peaceful
coexistence.
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The first-person narrative voice in the novel affords us direct
access into the narrator’s mind, making the narrative seem like an
overheard extensive monologue in which she reveals her innermost
thoughts and feelings to us. The present tense employed in the narrative
depicts reader’s growing knowledge of the narrator is simultaneous with
her own growing self-knowledge, both of which happen as the story
unfolds. Although the author does not create an overt distance between
herself and Kambili, it is clear that most of the time, hers is a young mind
with great intuition, a mind that knows without knowing that it knows.
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Works Cited
______ The Thing Around Your Neck. London: Harper Collins, 2017.
Print.
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Hoover Braendlin, Bonnie. “Bildung in Ethnic Women Writers”. Denver
Quarterly. Vol. 14, No. 4, 1983.75-87.Print
Hron, M. 2008. Ora Na-azu Nwa: The Figure of the Child in Third-
Generation Nigerian Novels. Research in African Literatures 39(2):
27-48.
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