Purple Hibiscus

Papa’s rank as chief, or Omelora, in Abba is evident, and readers see the showy yet disconnected and insular ways he fulfills his duties: closed door meetings at his mansion, doling out money, and rejecting anyone he regards a heathen, including his own father.

Papa-Nnukwu, the “traditionalist,” as Aunty Ifeoma calls him, is as stubborn about letting go of his beliefs as Papa is his, but Papa-Nnukwu demonstrates warmth, love, and joy, and values his grandchildren, whose connection with him is real. Papa’s rejection of all he once knew is ultimately impossible, as he allows his children to visit with their grandfather for a short time, emphasizing the futility of his unrelenting ways at the expense of losing the closest human bond—family.

During the visit with Papa-Nnukwu, Kambili’s inability to arise from her seat when it’s time to go foreshadows a time much later when she refuses to release fragments of Papa-Nnukwu’s painting. She clings to her heritage and a grandfather who unconditionally loves her and shows her where she came from. Papa’s black and white view of change (the need to cut off all ties with the past) is juxtaposed with Kambili's more inclusive weaving of her heritage with her present reality mirrors the process of assimilation to change in society. At first, change is frequently radical in order to gain traction. Then Individuals can pick and choose which elements of the new and old orders they would like to integrate. As a postcolonial novel, Purple Hibiscus explicitly explores the nature of social change and cultural assimilation, or the way in which “memory acts as a bridge between colonialism and cultural identity” (Dhivya and Swami, “Imprints of Post-Colonialism in Chimamanda Ngozi Adiche’s Purple Hibiscus”).

A world of limitless possibilities opens up when Kambili and Jaja see Aunty Ifeoma and their cousins after two years. This loving family is the antithesis of the closely-guarded people Kambili and Jaja have known, and their senses are bombarded with the energy and enthusiasm they bring. They listen to new songs and stories and hear laughter often. Invigorating energy pervades any room Aunty Ifeoma, Amaka, Obiora, and Chima inhabit, and Kambili and Jaja undergo a monumental transformation, albeit a gradual one, as a result.

Aunty Ifeoma and Mama’s notions of women’s roles differ greatly. Aunty Ifeoma, the proud, autonomous mother of three, encourages experimentation, expression, and excellence in her children—qualities she allows herself to possess as well. She is an unapologetically worldly woman with an academic career who is unafraid to show her emotions, especially joyful ones. In this way, Aunty Ifeoma is “a character who embodies the emancipatory potential of a syncretized culture,” a link between current representations of society and a “heroic precolonial past” (Sandwith, “Frailties of the Flesh: Observing the Body in Chimamanda Ngozi Adiche’s Purple Hibiscus”). In stark contrast, Mama believes a woman is not complete, or whole, if not a wife and mother. Her sole role in the family unit is a domestic one, and she must depend entirely upon a husband for her livelihood. The violence done to her body throughout the novel mirrors the violence of the postcolonial state on traditional ideals. It is no wonder Kambili is immediately captivated with Aunty Ifeoma when she first encounters her larger-than-life presence.

At the Abo festival, both female and male pagan spirits arrive, performing ritualistic dances. Unlike Obiora, Jaja has not experienced the traditional initiation into manhood, or the ima mmuo. This shows the contrast in the two boys’ upbringing—one is allowed to continue his ancestors’ ceremonies and the other is forced to quash all semblance of that heritage, only to replace it with the imported white man's culture, their “gods In the sky” (84) that have no connection to Nigeria’s past rich with meaning. Such is the legacy of colonialism, leaving occupied countries tense with dispute over what their national identity should be.

On Christmas, wealth takes precedence over spirituality: the priest pleads for money for the church instead of celebrating Jesus’s birthday; visitors at the house praise Kambili and Jaja as ones who will inherit wealth; Aunty Ifeoma bristles at the memory of Papa’s bribe to convert to his Catholicism, a bribe she refused; the house visitors are accused of telling Papa what he wants to hear because of his material gifts; and a lavish lunch is served, contrasting sharply with the humble meals at Aunty Ifeoma’s house. The only real spiritual aspect of the day is the discussion of The Blessed Virgin’s apparition. Even its validity is questioned, but as Aunty Ifeoma points out, believing it exists is a matter of faith—whether it is real or not is inconsequential.

Kambili’s period indicates her initiation to womanhood. Both Kambili and Jaja are maturing physically, mentally, emotionally, and spiritually. Papa does his utmost to stunt this growth, as he insists Kambili obey a stringent fasting rule when she is ill during her period, a rule she breaks, resulting in another of Papa’s sadistic acts. Kambili confesses to enjoying the Aro festival on Epiphany, which reveals she is learning to speak up regardless of the consequences. This can be seen as another sign of growth.