ANDREW OBWOCHA

PURPLE
HIBISCUS
BY CHIMAMANDA NGOZI ADICHIE
AUTHOR
Chimamanda Adichie says she wrote
Purple Hibiscus wanting to explore the
role of religion in contemporary Nigeria.
She believes it's a complicated subject
for fiction, so she tried to lighten her
story by telling it through the eyes of a
young girl named Kambili. Like the author
herself, Kambili is Roman Catholic, part
of Nigeria's Igbo Christian population.

Awards
The Book Purple Hibiscus has
picked up a few honours ...
Hurston-Wright Legacy Award
2004 (Best Debut Fiction
Category)
Commonwealth Writers' Prize 2005:
Best First Book (Africa)
Commonwealth Writers' Prize
2005: Best First Book (overall)
Shortlisted for the Orange Prize
for Fiction 2004
Longlisted for the Booker Prize
2004
Nominated for the YALSA (Young
Adult Library Services
Association) Best Books for
Young Adults Award (2004)
Shortlisted for the John Llewellyn
Rhys Prize 2004/2005
PLOT
Chimamanda conveys a complex story which
highlights the difficulty of racial segregation,
corruption, classism and poverty as post-
colonial ramifications. The book is put across
through the eyes of Kambili, a reserved
young girl who undergoes significant growth
as a result of all the changes unravelling A Plot is...
around her. Chimamanda Adichie sets Purple The story behind a book, film, play, etc
Hibiscus in the Nigeria of her youth. She lived
in a small university town that kept her at a
distance from the political upheavals of
recent decades. But she always knew they'd
taken place.
The stage is set in post-colonial Nigeria in the 1980s, a few
years after Nigeria gained its hard-fought independence. The
majority of Nigerians adhered to the Traditional African Culture
and Religion but the whites imposed their Catholic Faith into
their daily lives. This faith produces a father figure and husband
so brutal, the family collapses into ruins under his dictation.
Multiple events rapture and the descent into anarchy was
inevitable, a heavyweight to bear for many of the characters
The story concludes with a hopeful
tomorrow as the narrator dreams of a
brighter tomorrow and planting the purple
hibiscuses back in their homeland of Abba.
Devastating decisions led the story into a
dark place but in the end, there was light at
the end of the tunnel
NARRATIVE

VOICE
Kambili Achike, the narrator, lives in Enugu town in the
company of her family. She is a young girl who is exposed
to the stringent supervision of her father and grows to be
aloof and demure, far from extroverted. The domination
imposed on her made her timid in many interactions. Papa's
strong presence enveloped her life and she would have
been doomed to forever reside in his shadow. She
undergoes a gradual change upon visiting the Ifediora
household, a symbol of freedom and love. With time, she
develops into a responsible young lady who could speak
up, she had come out of her shell. All the while, she
explains everything that went on in her life with the
thoughts as well as the emotion they evoked in her. She
offers the book through her eyes and narrators all that
unfolds. Her clever insight and description is a joy to read
SETTING
The novel Purple Hibiscus by Chimamanda Adichie, set in
post-colonial Nigeria during the Civil War in the late 1960s,
focuses greatly on family relationships as well as religious
and cultural ideals. Adichie explores a difficult context in that
of the post-colonial era of Nigeria. A country from its ruins
suffered immensely from poor governance and a corrupted
regime. A vast variety of cultural beliefs were still in
implementations despite the influence of the whites such as
early marriages and sacrifices to the 'Igwe'. A lack of
employment coupled with a country lacking basic common
necessities such as electricity and fuel paved the way for the
lifestyle in Nsukka and built contrast from that of Enugu.
The freedom and vibrancy of Aunty Ifeoma’s household despite their
financial limitations bewilders Kambili, while lifting the restrictions on her
life and exposing her to radically diverse values and beliefs. Adichie
foreshadows the development of Kambili’s character through the
immense contrast between her own home and the Nsukka household’s
open and loving environment. Adichie emphasizes the symbolic setting
in this passage to powerfully convey the disparity in attitudes of
Kambili’s and Aunty Ifeoma’s families. The gap in wealth is dealt with
frequently, highlighting that greater material satisfaction is not as
beneficial as the spiritually nurturing environment of Nsukka.
From early on in the book, the frame of corruption, poor governance,
religious constraints and violence was captured to set the guideline the
story would follow.
The subdued tone that Adichie creates leads to the
constricted atmosphere that surrounds the entire
Achike family. Furthermore, the mood is an essential
tool of the story, it is dark, scary and eerie. You
develop an emotional attachment with the characters
and fear for them.
The African setting talking about the scenery in Nigeria during this trying times and
highlights the destitute conditions the citizens of Nigeria must endure.
The Religious setting captures the set beliefs established through the African
Traditional Religion and conflicts it with the Catholic Faith in an attempt to diversify the
conviction that religion does need to dictate someone's life
The Familial setting the Achike and Ifediora families are put in the limelight identifying
the difference in wealth but also in fulfilment. Being a member of one family led you
down a different path paved by how the respective families associated with one another.
All in all, no one setting instilled peace and security in all characters. The diversity of the
context allowed a chaotic story with many events unravelling simultaneously and it was
this variety that excites the reader
CHARACTERS
Kambili Achike, the story's protagonist, depicts a life filled with trauma. A shy
character who is wise beyond her years, having a mature take on many of the issues
plaguing her family. Her father's violent and cruel punishments cause chronic bodily
and emotional harm. Petrified of displeasing Papa, she blindly follows his voice
without developing her own. Cowered in fear, she lives quietly, with no
inquisitiveness, and speak in a manner that boards well with Papa—or not speak at
all. Kambili's actions result from the lack of conversation at home and lack of
familiarity with topics of conversation. Although Papa is abusive, Kambili admires
certain aspects to his persona. She is proud of his charitable actions in the
community and modest demeanour in the face of such publicity. She has a deep and
genuine religious faith that is more than just a product of her father's upbringing.
Learning to untangle her personal faith from her father's extreme beliefs is part of her
coming-of-age journey. That journey is greatly influenced by Aunty Ifeoma, also a
Catholic but more flexible about how that faith is lived out. The lessons she learns at
Aunty Ifeoma's prepare her to enter adulthood with confidence, a journey that proves
more difficult than anyone imagined. Kambili does come out of her shell and does
learn to question authority when need be. She outgrows her limitations and begins to
speak up as well as take responsibility for taking care of her mother.
Jaja, Kambili’s brother, who is about two years older than her. Similarly, Jaja
strains under the tyranny of his father. After both his sister and mother are
hospitalized from beatings, Jaja grows rebellious. Jaja is rational and protective
and more outgoing than his sister. He flourishes when he is able to spend time
with his aunt. He steps up and establishes a firm stance against his father’s
brutality. Jaja severs ties with both his father and faith in a feeble attempt to
distance himself from Papa. He foregoes his father’s expectations time and
time again in the book. Arguably, no character undergoes a larger character
development than Chukwuka who transitions from a rebellious boy to a
hardened young man defending his family, the role unfulfilled by his father.
Chukwuka finally takes the role of manhood and defends his mother from
prison. He takes full blame of her poisoning and is locked behind bars for 3
years. He protects his mother from a life of anguish by taking the blame of
poisoning the father. Throughout the book, he has been there for Kambili as
well as showing a capable young man. His choices have always directed at
opposing his father’s tyranny and to protect the rest of the family from him.
Eugene, the story antagonist, is an eminent man in the Achike’s village of Enugu, operates
multiple fruitful factories and publishes a newspaper infamous for its criticism of Nigeria’s
corrupt government. A tyrant who knew nothing but religion. He is a devout Catholic who
expects nothing but impeccable standards from his family. Papa punishes his wife and children
in order to correct their behaviour. Papa is beloved in his community but is estranged from his
own father and his traditional African culture. Papa was a stringent man, ferocious at large, who
did not tolerate a misstep. Any deviation from the path set by him was met by a punishing, a
thorough one at that. A character who justifies each action based on religion consequently
repelling his family emotionally before his life is extinguished. His prominent presence sent a
devastating aura that could never allow ease in the Achike household or anywhere he trod. He
was the key to freedom, the capital conflict in the book surrounded him and in his mask of
civility was a discreet monstrous father figure. A tyrant who knew nothing but religion.
Beatrice is a submissive and quiet religious lady who was utterly dominated by her male counterpart.
A character who often shies away from the scene and is majorly passive. A mere spectator as her
children suffer crushing punishments and not questioning Papa's beating ultimately form a
psychologically weak individual. Fearful for her children, she opts to eliminate the threat unlawfully.
Though the abuse worsens over time, she refuses to leave. Ultimately, fearful for her children's
safety, she opts to spikes her husband's tea, eliminating the threat. Mama does regret how her
decisions developed in the long run. She is distant without ever initiating conversation. Her actions
are her worst nightmare and she wishes she could’ve done it differently. Although Aunty Ifeoma
encourages her to consider leaving the marriage, Mama believes it would be worse for her to leave.
Such a mindset prevented her from filing a divorce and it was only until events escalated that she
realized rapid reaction was in order. Papa is an important man in the community, and she is a Catholic
woman. Thus, she sees divorce as both impractical and immoral. However, when Papa's abuse
continues and worsens, it pushes Mama to her breaking point. And rather than leave her husband,
she chooses a permanent solution—poison.
Aunty Ifeoma is an amiable woman with a confident stride, quick-witted, and a Catholic devotee that incorporates
traditional Igbo customs into the modern Catholic beliefs, despite the connotation that they are intolerable and
incapable of co-existing. She is widowed, caring for three children on a meagre salary. She is liberal and outspoken but
also a devout Catholic. Unlike her brother, she respects the religion and traditions of her father. She accepts and
encourages debate and disagreement among her children to raise steadfast individuals who could identify and voice a
problem with ease. This trait nurtured Kambili and Jaja when in Nsukka and commenced their journey toward
transformation. Though she is not well off, she is hospitable—offering Kambili and Jaja a safe haven in her home
despite her constraining budget and small apartment. Vocal on political affairs, she eventually pays the penalty for
boldly speaking the truth when she is terminated from her job at the university and circumstance pushes her to go and
work overseas in the States. Ifeoma along with her entire family migrated to the US in an attempt to escape the many
vices of Nigeria. This decision was vital especially with all their attachments back in Nsukka. They do enjoy a better life
there but have little to no time for interaction. Through Aunty Ifeoma's example, Kambili and Jaja see that Papa's way
of raising a family is excessively obtrusive and very unforthcoming to any person. Familial love was first experienced in
Nsukka through the free spirit in the Ifediora family. She shows it is possible to be a loyal Catholic and accept other
religions without discrimination. Contrary to their belief system, she urges them to speak up for themselves. These
lessons are crucial for both Kambili and Jaja as they transition from childhood to adulthood. Her way of life inspires
Kambili and Jaja to rethink their own upbringing. She is the cornerstone of everyone’s life, the beam of hope that
everyone would go to in times of need
Father Amadi was a young missionary priest based in the chaplaincy in Nsukka. He
offers Kambili her first romantic love in a contentious relationship that saw a religious
man lead on a 15-year-old girl. He is warm and gentle to the children of the village, often
playing football with some of the boys and doing a lot of missionary work, representing
a modern take on faith. Respectful of his Nigerian roots, he includes native Igbo songs
of worship into his sermons. He shares a tight bond with Aunty Ifeoma’s family because
of its liveliness and kindness toward him. He not only enjoys lively debate with both
Amaka and Obiora but also encourages Kambili to spread her wings. He is taken with
Kambili in part because she is so quiet. Ultimately, Father Amadi was headed to
Germany in a feat to spread the gospel but in his writing to Kambili, he does seem to
miss Nigeria, his homeland. He writes to Kambili to try and console her during the trying
times (after Papa's death) but is careful not to conjure up the past emotions of Papa.
Nothing ever escalated between Father Amadi and Kambili but his capital role was to
fulfill the romantic aspect of the book and to lend support to Kambili's growth. He was
also an integral part of Nsukka, a town that held a heavy meaning in this book
Papa Nnukwu is a doting man completely immersed in the traditional non-Christian beliefs
of his native culture. Resultantly, he shares a complicated relationship with Eugene who is
constantly on the mission to convert him. The tension between the two religions is refined
by Papa Nnukwu as his adamant stance to remain a traditionalist proved a vital point in the
story. Religion need not dictate the life of an individual. Moreover, the rest of the family
incorporate him with glee despite the following the same faith as Papa. Unfortunately, his
death was both sudden and saddening as he passed on in his sleep. Even in death,
Kambili grows to love Papa-Nnukuwu despite her father’s warnings that he is a heathen.
Through his joy and warm spirit, Kambili learns that both family and faith are more
complicated than what she has been taught. Papa Nnukwu left a big impact on Kambili
and Jaja who saw his free spirit and a chance at a strong father figure they never got to
know.
Amaka - Aunty Ifeoma’s eldest daughter, fifteen years old. She is fiercely loyal to her Nigerian roots despite her
Catholic upbringing. Amaka is critical of her cousin’s wealth and meekness. Overtime, Amaka and Kambili come to
understand one another and a sisterly bond is forged through adversity.
Obiora - Aunty Ifeoma’s eldest son, fourteen years old. Since the death of his father, Obiora has assumed the role of
man of the house. He is questioning and mature and delights in intellectual debate. Obiora inspires Jaja to open his
eyes.
Chima - Aunty Ifeoma’s youngest boy, seven years old. Chima is the baby and does not yet have many responsibilities.
He clings onto his mother and to both Obiora and Father Amadi. It is clear he misses a male role model.
Father Benedict -The white, British-born head of St. Agnes, the Achike’s church. He is a supportive ally of Papa’s,
praising him constantly as one of the pillars of the community. Father Benedict is austere and offers only his view of
religion.
Ade Coker - The editor of the Standard, Papa’s paper. With Papa’s support, he is openly critical of the corrupt
government and becomes a political target. He is killed by a letter bomb bearing the State Seal.
Yewande Coker - The white, British-born head of St. Agnes, the Achike’s church. He is a supportive ally of Papa’s,
praising him constantly as one of the pillars of the community. Father Benedict is austere and offers only his view of
religion.
Kevin - The Achikes’ driver. Mama fires him after Papa dies.
Sisi - The passive servant girl in the Achike household. Sisi provides Mama with the poison used to kill Papa.
Celestine - The passive servant girl in the Achike household. Sisi provides Mama with the poison used to kill Papa.
LITERARY
DEVICES
 'Kevin drove slowly now; potholes suddenly materialized in
the middle of the road and he followed the swerving motion
of the car ahead of us. When we came to a point just past
the market where the road narrowed, eaten away by erosion
at the sides, he stopped for a while to let other cars go by'
captures the overpopulated aura in the streets of Nsukka, the
commotion and poor state of roads could indicate the bad
governance and poverty levels. Imagery in this context offers
the reader a richening experience as the detail allows them
to vividly perceive the suburbs of Nigeria

'It's like telling a crawling baby who tries to walk, and then
falls back on his buttocks, to stay there. As if the adults
walking past him did not crawl once. This analogy captures
the patronizing of the black community by the whites as
though they never faltered.
The protagonist, Eugene Achike in the book is the epitome of
irony. Throughout the book, his religious beliefs would imply a
holy and loving man who protects and guides without
expecting anything in return, especially to his family. However,
we see a man so brutal his family had to go to extreme lengths
to evade his grasp. Brutality was his dominant trait throughout
as he believed he was doing right by God.

'When a house is on fire, you run out before the roof collapses
on your head' this proverb is coined by Aunty Ifeoma with a
sense of urgency in her tone. The saying is a metaphor
referring to the Achike household. She is implying Mama and
her children should leave Eugene before something even more
drastic than Kambili's near-death experience occurs.
SYMBOLS
The novel, Purple Hibiscus uses many types of symbolism to express Papa’s
abusive behaviour towards his wife and children. In the novel, Purple Hibiscus,
Adichie expresses different types of symbolism that affect the daily lives of
Kambili’s family through Papa’s abusive behaviour towards them. This means that
experiencing a different home and their living ways it changes their perspective of
Papa. Adichie is trying to persuade the reader that as people age, they become
more independent and they stand up and be more liberal for themselves. Within
the novel, there are many symbols being used to help develop the novel, in the
text; they all played a major role in the story:

The Purple Hibiscus flowers illustrate the freedom of Kambili and Jaja as well as
the Nigerian republic as a whole
The Figurine is an anomaly that leads Mama, Jaja and Kambili to freedom, which
ends the whole family suffering.
The laughter is another symbol, a symbol that leads Kambili of being more active
in the novel
Nsukka town is a symbol of freedom and love for Kambili and Jaja
Adichie captures the topic of freedom through the symbolism of the purple hibiscus flowers planted in Aunty Ifeoma's
garden later to be grown back in Enugu. As the flowers grew, the freedom of Kambili and Jaja gradually flourished before
blossoming into an entirely new experience. Bringing the hibiscuses back from Nsukka represented the new-found hope
instilled in them after the exposure in Nsukka.

Adichie uses the Figurines as an epitome of Papa’s anger ultimately causing violence, and as he throws Mama’s figurines
on Palm Sunday. The Figurines were a representation of Mama. She treated the figurines like her prize possession, as she
thinks it would help her find a way to stop the abuse that Papa does to her and the kids. Kambili states: “Things started to
fall 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”. Here, Papa is trying to release his anger. The start of the phrase, “things started to fall
apart”, revealing that the figurines were the beginning of their journey to freedom, and the ending of the family’s sufferings
from Papa’s violent ways towards the family.
The laughter symbolizes Kambili’s development and growth. The laughter was a constant
sight in Aunty Ifeoma’s house within the short period that Papa let them visit. She paid heed to
the manner Aunty Ifeoma’s household always have laughter and hers didn’t. “We always
spoke with a purpose back home, especially at the table, but my cousins seemed to simply
speak and speak and speak”. Kambili notices that during meals in Aunty Ifeoma’s house
there’s always talking and laughing, in and out, throughout the house, even during lunch. The
phrase, “we always spoke with a purpose back home” reveals that under Papa’s roof, there
were barely any movements nor talking. It wasn’t normal for anyone to speak under Papa’s
roof on a daily basis. In the concluding stages of the book, laughter is seen yet again but in
Kambili. She develops into an independent soul who exercises true freedom. The laughter
foreshadowed what the future held for Kambili after multiple hardships.
Nsukka Town, a recurring location throughout the book which
Kambili and Jaja always returned to. It housed the first seen purple
hibiscus in the story which Jaja would carry home. The place
where Papa Nnukwu would pass on and leave a lasting change in
Kambili and Jaja. This is where they experienced true love for the
first time in the book, the first instance of some sort of freedom in
their life. It housed the Ifediora family which ended up galvanizing
Jaja to step up and be the man of the house and Kambili into a
responsible and caring character who stands by her mother in
tragedy. Nsukka was a beacon of freedom that represented the
many things Kambili and Jaja never had experienced. The town on
its own signified an important role in Kambili, a mental escape
even after Aunty Ifeoma and her family moved away. An
indisposable place in the book.
 Within the novel, there were many symbols that help develop
ideas throughout the novel. Adichie mentioned numerous amount

SYMBOLISM
of symbols throughout the book. As Kambili and her family
experience these symbols, it developed the theme of the family’s
growing defiance towards Papa. Facing these different types of
Symbolism led the family to an ending of their sufferings.
Throughout the whole novel, these symbols help Kambili, Jaja
and Mama prepare themselves for a new life, free from Papa’s
violence.