Praveen Parthasarathy
Ms. Greenberg
Honors Global Studies
11th December 2018
Study of Purple Hibiscus
In her 2009 TED Talk, author Chimamanda Ngozi Adichie asserted that the new generation of African literature sought to promote more than the stereotypical image of a malnourished child engrossed in poverty, aiming to display narratives centered around characters with relatable emotional backgrounds. Adichie delivers on this standard in her novel Purple Hibiscus, depicting the psychological maturation of Kambili, a wealthy Nigerian girl who attempts to discover herself while battling with the oppression of her father, a Catholic aristocrat who resorts to physical violence in an attempt to impose his demanding values upon his family. Adichie’s Purple Hibiscus not only exhibits the growth of its central character in its Bildungsroman-like style, but also displays Nigeria’s historical context in the late 20th Century, the cultural standing of women in society, and the religious status quo of post-colonial Africa.
Adichie emphasizes the role of religion through her frequent mentions of the conflict between Catholicism and African traditionalism. The significance of religion in the novel is seen from the book’s inception, as its opening remarks are set in a Catholic church. It is later stated that Kambili’s father Eugene, once a poor “traditionalist” himself, joined a missionary school that allowed him to attend college in England. However, Eugene’s father Papa-Nnukwu, a traditionalist himself, is severely limited by his Catholic son in interacting with his grandchildren, as he states: “I don’t like to send you to the home of a heathen, but God will protect you” (62). Although such religious sentiment may have been expected in colonial periods, the presence of a Catholic superiority towards ancestral traditionalism is appalling, specifically as seen in the strained relationship of a Catholic son and his traditionalist father. This conflict is further exhibited in Eugene’s consideration of the divide between African Christian practices and European Catholicism. African Christianity, similar to its African-American counterparts, features the display of inclusive musical hymn, a practice most unwelcome in European Catholicism. Eugene’s position in the conflict sides with that of Catholicism, as he states: “That young priest, singing in the sermon like a Godless leader of one of the Pentecostal churches that spring up everywhere like mushrooms. People like him bring trouble to the church” (29). Adichie’s depiction of Eugene’s belief in European Christianity is representative of sentiments regarding African development; in order to elevate in global standards, individuals (such as Eugene) assert that the continent must adopt European culture, moving past the “godless heathenism” of the past. However, a significant portion of Kambili’s development in the novel results in a contrasting notion – one that accepts Christianity, but is inclusive of African traditional belief. Adichie ultimately resolves this through the words of Papa-Nnukwu, who accepts the good of Christianity, but laments its demands of forgetting previous methods of worship. He emphasizes: “‘It is good, my son. But you must never lie to them. Never teach them to disregard their fathers’” (172). This resolution manifests itself in the lives of Kambili and her brother Jaja, who ultimately adopt the traditions of their forefathers while holding on to their Catholic beliefs.
Another significant aspect of the novel’s regional information is its descriptions of the Nigerian status quo. Although not centered around a definite historical time period, Adichie adopts fragments of Nigerian history to display the plot’s context. This is reflected in the descriptions of the “coups [that] begat coups … [as seen in] the bloody coups of the sixties, which ended up in civil war … [beginning another] vicious cycle” (24). Throughout the novel’s plot, Nigeria is under a military regime that is heavily scrutinized by the media. The result of this criticism is seen in the forced shutdown of many newspapers. Adichie’s establishment of such a context is reflected by Nigerian military junta rule between 1966-1979, and once again in 1983-1999. In this combined 30 year period, the combination of various violent transitions of power resulted in social unrest, resulting in the displacement of many citizens internationally due to an economic downturn. Adichie illustrates this unrest through the inability to “get the stretcher from the medical center because the medical administrative staff was on strike”; furthermore, college teachers are not paid, while students steal and sell examinations, and essential resources are scarce. The death of Kambili’s father’s editor, Ade Coker, is reminiscent of Dele Giwa, a Nigerian editor who was assassinated by the Nigerian military regime in 1986 due to his criticism of its brutal corruption. Ultimately, the same pressure forces Eugene’s newspaper, The Standard, to collapse, resulting in his emotional breakdown. While not prominently historical fiction, Adichie’s use of context is crucial to the plot’s setting, as seen in the military rule’s effect on all Nigerian citizens.
Finally, the African gender dynamic is critical to an understanding of the novel; Kambili’s dominant father, submissive mother, maturing brother and cousin, and outspoken aunt are representative of the roles of men and women in Nigerian society. Eugene’s abusive behavior towards his wife and children, although emerging from his immense care for his family, results in the docility of Kambili and her mother. When Jaja makes a comment favorable to his father, Kambili immediately desires to have made the statement; this latent desire to impress her father follows her throughout her teenage years. Until her father’s death, Kambili perceives her father as an immortal figure who is comparable to the God whom he prays he to. When introduced to the world of her cousins, Kambili’s submissiveness causes her to be unresponsive to the jealous barbs of her cousin Amaka. The dominance of her father reveals the significance of the male in Nigeria; although some women held power through jobs, a majority of power is concentrated in male-held positions. The obvious example of this is Kambili’s aunt Ifeoma, who is widowed, but is yet portrayed as an outspoken woman with a “cackling laugh”; the description of Ifeoma is indicative of a second woman stereotype – in comparison to Kambili’s initial nature and that of her mother, Ifeoma is voluble and generally unafraid of countering the male dominance of her brother. Another significant aspect of the gender roles in Nigerian society is seen in the maturation of Kambili’s cousin Obiora and brother Jaja. Following the death of Papa-Nnukwu, “Obiora … did not out loud … because he was the nwoke in the house, the man Aunty Ifeoma had by her side” (184). This pressure to become a man is similarly faced by Jaja, who asserts his freedom on multiple occasions, suggesting that there is a premium on “manhood” in Nigeria, similar to maturation pressures in many other regions.
Adichie utilizes the development of Kambili and the tragic downfall of her father to explicate the Nigerian historical, social, and cultural status quo. Personally, after reading this novel, I have developed a greater understanding of Nigerian society, one beyond common perceptions of Africa as a nation of malnutrition. Despite being unfamiliar with Nigerian customs, I was able to empathize with Kambili’s sentiments and was significantly impacted by her maturation. Following my reading, I can now appreciate the nuanced nature of Nigerian society, from its conflict between Catholicism and traditionalism to the gender balance.