Purple Hibiscus
Chimamanda Ngozi Adichie
Purple Hibiscus
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Table of Contents
S UM M A RY
3
C H A P TER S UM M A RIES & A N A LYS ES
6
Pages 3-16
6
Pages 19-51
7
Pages 52-109
8
Pages 110-205
12
Pages 206-253
16
Pages 257-291
18
Pages 295-307
20
C H A RA C TER A N A LYS IS
23
Papa (Eugene Achike)
23
Mama (Beatrice Achike)
23
Kambili Achike
24
Jaja (Chukwuka Achike)
24
Aunty Ifeoma
25
Amaka
25
Obiora
26
Papa-Nnukwu
26
Father Amadi
26
TH EM ES
28
The Dangers of Intolerance and Spiritual Transformation
28
Freedom of Speech and Postcolonial Politics
29
30
S YM B O LS & M O TIFS
The Purple Hibiscus
30
The Eyes
31
Dreams
31
IM P O RTA N T Q UO TES
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Purple Hibiscus
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ES S A Y TO P IC S
41
TEA C H IN G UN IT
43
Part 1, Pages 3-16
46
Part 2, Pages 19-51
47
Part 2, Pages 52-109
48
Part 2, Pages 110-205
49
Part 2, Pages 206-253
50
Part 3, Pages 257-291
50
Part 4, Pages 295-307
51
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Summary
Winner of the Hearst-Wright Legacy Award in 2004 and the Commonwealth Writers Prize of
2005, Chimamanda Ngozi Adichie’s 2003 novel Purple Hibiscus is set amidst the political
turmoil of postcolonial Nigeria (the 1960s) prior to Nigeria's civil war. The novel is divided into
four sections. Each section represents a specific moment in time and addresses a certain
aspect of spirituality. Most of the story is told in flashback from the point-of-view of 15-yearold Kambili Achike. Religious beliefs clash, and politics, social upheaval, tradition, romantic
love, truth, feminism, education, and nature all play prominent roles in the text.
Plot Summary
The novel begins with its climax, a violent domestic scene resulting from many months of
frustration and change. The title of this first section, “Breaking Gods,” implies a shattered
spirituality, reflected in Mama’s (Beatrice Achike’s) broken figurines, and the fury with which
Papa (Eugene Achike) throws his missal, God’s word, at Jaja (Chukwuka Achike), the son who
rejects his father’s God.
The explosive action followed by silence is not new, but Kambili (the narrator, Jaja's sister)
and Jaja have experienced newer, freer worlds outside this one, so their perspective of his
violent episodes has changed. Mama has endured great hardship at the hand of the
uncompromisingly cruel Papa, and this will be Papa's last attempt to control his family in the
name of his God. The reader will later learn that the postcolonial Nigerian government’s killing
of his partner and silencing his newspaper; coupled with Auny Ifeoma's liberating effect on
the children, Kambili's first period, and Jaja's growth beyond the world that Papa can provide
for him; is the catalyst for this most harsh of beatings Papa will deliver and for which Mama
will kill him.
The longest section in the book harkens back to before the Palm Sunday incident, when the
family’s life is utterly controlled by Papa’s religious tenets. Although their lives may seem
disciplined and mundane, the dark truth soon emerges as Papa physically abuses Mama and
the children for breaking his enforced theological directives. This intolerance extends to
Papa’s father, as well, and is never relinquished.
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Kambili and Jaja’s visit to Aunty Ifeoma and her children in Nsukka is the turning point of the
novel. They are exposed to a wide-open world that encourages them to laugh, speak for
themselves, and discover their own identities in a unique coming-of-age experience. It is here
they meet Father Amadi, a different kind of priest, who becomes special friends with Kambili
and serves as a role model to all the children, as does Aunty Ifeoma. Aunty Ifeoma is key in
showing strength through adversity, compassion, and a sense of joy. This section of the novel
illustrates the importance of education, tradition, unconditional love, and acceptance.
Adichie emphasizes many natural elements in Nsukka: Ifeoma’s garden; Odim hill; weather
features like clouds, rain, and the sun; and numerous plants, trees, and flowers. Jaja’s
transplantation of the purple hibiscus from Ifeoma’s garden to his own proves he cherishes
its uniqueness, beauty, and power.
A secondary plot highlighting external governmental upheaval parallels the main plot’s
internal family conflicts. The unravelling of the Nigerian government prompts Papa to publish
anti-military rhetoric in the Standard, leading to the death of his publisher and the destruction
of factories. Nonetheless, he continues to shun his father, Papa-Nnukwu, who dies, and to
brutally punish Mama and the children.
After Palm Sunday, life changes dramatically for Aunty Ifeoma and the children when Father
Amadi is transferred to Germany and Aunty Ifeoma is fired from her job, precipitating a move
to America. Kambili and Jaja spend time with them before their departure, picnicking on the
top of Odim hill and making a pilgrimage to see the Blessed Virgin's apparition in Aokpe.
Kambili tells Father she loves him, but they both know a serious relationship is impossible.
At the end of this section, Papa dies suddenly. The entire family is shocked; Kambili and Jaja
immediately return home. Mama talks more than usual; Papa’s autopsy reveals poison in his
body, and Mama admits to poisoning his tea. This greatly upsets Kambili because of her
special bond with Papa and their “love sips”—Papa’s term for sharing tea with Kambili. In
order to protect Mama, Jaja admits to the crime and is imprisoned.
Almost three years later, Kambili is a lighter, happier person who laughs freely. Jaja has
hardened and grown cynical in prison. Mama is a shell of her former self, hollow and
unresponsive, and although she has admitted to killing Papa, others do not believe her.
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Kambili and Mama bring important news to Jaja in prison: he will soon be released as a result
of a regime change, and Kambili and Mama’s bribery. While they wait to see him, Kambili
thinks of the letters she’s received from Amaka and Obiora in America and from Father
Amadi, a treasured friend, but no more a love interest.
Kambili has metamorphosed into a mature person, hopeful for the future and eager to
experience the rest of her life. She, Jaja, and Mama will revisit Nsukka, go to America, and
return home to plant trees and purple hibiscus in the soil of a changing homeland enveloped
in “a different kind of silence, one that lets [Kambili] breathe” (305), and where “new rains will
come down soon” (307). In a moment of catharsis, Mama smiles and leans toward her
daughter as the cleansing rain washes away the old to make way for the new.
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Chapter Summaries & Analyses
Pages 3-16
Part 1: “BREAKING GODS Palm Sunday”
Pages 3-16 Summary
“Things [begin] to fall apart at home” (3) when Papa throws his heavy missal across the
family room, breaking Mama’s treasured ballerina figurines, after Jaja refuses to attend
church on Palm Sunday, declaring he will never take communion again and will die first.
Papa gives Kambili a “love sip” of his tea, a gesture she cherishes. She recalls a time when
they spoke more “with their spirits than with their lips” (16)—until Nsukka. The change started
there in Aunty Ifeoma’s little garden.
Pages 3-16 Analysis
The first pages of the novel expose an explosive scene in which gods are “broken,” revealing a
significant spiritual rift between domineering Papa and defiant Jaja. Papa literally throws the
word of God at him after Jaja refuses to follow Papa’s religious demands. Papa’s “heavy
missal” (3), representing his heavy-handed enforcement of its contents, instead demolishes
Mama’s only true possessions (delicate homages to feminine grace), representing both the
loss of her sanity and self-worth and male dominance over feminine beauty.
Papa’s piety and powerful position in the community compels him to go to extremes to be the
model Christian, based on the white colonial British idea of Catholicism he adopted when
young. In carrying out his uncompromising mission, Papa frequently abuses his family, a
recurring cycle throughout the story. Even though the gesture of Papa’s “love sip” to Kambili
appears affectionate, the tea is scalding, showing Papa’s seemingly benevolent actions hide
the hot temper he displays when she disobeys orders.
The hibiscus flowers introduced here are red, not purple, indicating heat, fear, and passion.
The purple hibiscus later transplanted to their garden represents a combination of the colors
red and blue—one hot color and one cool color—blending to create balance and harmony.
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Silence is heavy and palpable in the house after the violent incident, as the characters repress
emotions and problems instead of openly discussing them. As Kambili sits in her room, her
sanctuary where she looks out the window to the wider world, she recalls the catalyst for the
significant change in her and Jaja’s lives—Aunty Ifeoma’s house in Nsukka, where they found
true spirituality.
Pages 19-51
Part 2: “SPEAKING WITH OUR SPIRITS Before Palm Sunday”
Pages 19-26 Summary
Mama is pregnant after having previous miscarriages. Kambili and Jaja follow the daily
schedules Papa plans in detail. A government coup has occurred, and Papa vows to end the
vicious cycle of violence.
Pages 27-36 Summary
Papa’s newspaper contains critical stories of the country’s political turmoil. A new priest,
Father Amadi, visits their church and oddly sings traditional songs at Mass; the children like
it, but Papa calls him “[g]odless” (29). When Mama becomes ill and goes against Papa’s will,
he physically abuses her, resulting in the loss of the baby. Mama is hospitalized, and the
family prays for her “forgiveness” (35) upon her return home.
Pages 37-51 Summary
Kambili acquires status of second in class instead of first, a highly unacceptable position to
Papa. Ade Coker, Papa’s editor, is arrested; Papa pays for his release and publishes
underground thereafter. At the market, Kambili has compassion for a woman harassed by
soldiers. Papa visits Kambili’s school and stresses God’s expectation of perfectionism,
reinforcing his adamance that she become first girl in the class. Kambili is considered a
“backyard snob” (51) at school; she is unable to socialize because of Papa’s strict rules and
her eminent punishment when she does not follow those rules.
Pages 19-51 Analysis
Mama’s past sense of loss fades, and her purpose for living is renewed when her pregnancy
brings hope of new life and fresh blood to the family. Tragically, one of Papa’s monstrous
episodes robs Mama of this hope when he beats her for tending to her own health instead of
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attending Mass as ruled in the Scriptures. We see here how the appearance of righteousness
overwhelms and in fact ruins actual spirituality. The beating, done privately in their opulent
bedroom, indicates secretiveness and fear despite beautiful surroundings. Afterwards, the
aggressor lacks contrition, and Mama's therapy involves cleaning her cherished figurines, as
if cleaning her soul and preserving her femininity. These same figurines, as the reader knows,
will later be destroyed.
The family’s cycle of violence repeats later in this section when Kambili does not make first
girl at school and is severely chastised. According to Papa, God expects perfection; in reality
Papa contributes heavily to the school, so he expects perfection from Kambili. This is one of
many comparisons of Papa to God in terms of power structure within the family, but also
shows that he expects a quid-pro-quo: if one does things in exactly the "right" way, he or she
will be rewarded. Unable to live up to Papa's expectations, Kambili runs to avoid further
punishment; at various points in the story, running symbolizes her desire to obey and escape
and a strength she can call her own.
Rebellion is afoot in the city. Papa’s power lies in his newspaper, which publishes “truth”
when other newspapers do not. His idea of truth opposes the military and politicians currently
in office, ironically criticizing their drunken power in civil society while he also rules without
mercy in his personal conduct. The fact that he fails to see this irony makes him equally blind
to the turmoil building in the family structure—the disintegration of the country parallels the
family’s erosion.
Father Amadi's visit to St. Agnes church echoes the familial divide that mirrors the upcoming
Nigerian civil war. Kambili and Jaja enjoy the priest's presence, his singing and performing
Catholic rituals in a slightly different way, while the elders do not. This signals the novel's
major recurring conflict: maintaining traditional customs while incorporating new tenets that
reflect a changing world.
Pages 52-109
Part 2: “SPEAKING WITH OUR SPIRITS Before Palm Sunday”
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Pages 52-70 Summary
Kambili becomes first girl at school after studying hard and ignoring insults by other girls,
thus satisfying Papa’s wishes. During Christmas break in Abba, at their mansion, Papa’s
status as “chief,” or Omelora, One Who Does All for the Community, is revealed. The
townspeople hail him, but both his and their motives are questionable.
Papa’s disdain for those still following old ways is evident when he forces a man off his
property and disturbingly shuns his own father, Papa-Nnukwu, calling him a heathen and
refusing any interaction with him, although he allows Kambili and Jaja to visit him for 15
minutes.
While there, the children refuse food and water at Papa’s behest, but relish Papa-Nnukwu’s
lively manner and can feel the love he has for them. Papa chastises them later for staying an
extra 10 minutes. Kambili remembers how differently Papa treated his father-in-law, a “very
light-skinned” (67) man who “did things the right way” (68) and “seemed to use the word
sinner in every sentence” (68).
Pages 71-88 Summary
Aunty Ifeoma and her family’s arrival make life happier for Kambili and Jaja. Ifeoma’s carefree
manner surprises them. Jaja and Kambili accompany Aunty Ifeoma, cousins Amaka, Obiora,
Chima, and Papa-Nnukwu to the Aro festival, where old customs are celebrated, even though
Papa disapproves. The Aro festival is Kambili and Jaja’s initiation into the ancestral world,
one filled with people embodying foreign spirits and what Papa would call heathen elements.
The fact that Papa-Nnukwu is with them makes this trip doubly dangerous for the two
because Papa is adamant about not entertaining him, although they have no choice here, as
this decision is Aunty Ifeoma’s, not Papa’s.
Kambili describes the festival as a “vibrant painting that had come alive” (85). A “woman
spirit” (85), or mmuo (a person masked to honor ancestors) dances, and a male ima mmnu
(initiating males into the spirit world and manhood) appears. Obiora has completed the
ceremony involving the initiation into manhood, but Jaja has not.
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Papa-Nnukwu recollects questioning the missionaries in colonial Nigeria, casting doubt on
their belief in their god “in the sky” (84) and concluding the “white man is mad” for believing
“the father and son are equal” (84), in reference to God and Jesus. These views do not
complement his traditional notions of hierarchy, clearly defined roles, and family ideals. They
are not the earthly gods he recognizes and relates to. Aunty Ifeoma and her children laugh off
these antiquated ideas.
That night, Kambili dreams she is laughing like Aunty Ifeoma because she doesn’t know what
her own laughter sounds like.
Pages 89-109 Summary
Christmas Mass is uninspiring; a large lunch is served at the house. The Igwe, or King, visits,
and Aunty Ifeoma defers to him, but Papa will not, calling him a “traditional ruler” (94). Aunty
Ifeoma and her children are present; Kambili and Jaja interact with their cousins for the first
time.
Aunty Ifeoma explains to Mama that Papa-Nnukwu is dying, but Papa won’t let him in his
home because of his religious views. Aunty Ifeoma stresses Papa should “stop doing God’s
job” (95) and stop being judgmental.
The next day, Kambili gets her period. Papa mercilessly beats her, Mama, and Jaja after they
break a small religious rule to help Kambili feel better.
Two days later, the family goes to confession, where Kambili and Jaja admit to enjoying the
festival, which is a sin.
They leave to join Aunty Ifeoma and family for a week in Nsukka, a visit Papa has approved
because they will make a pilgrimage to Aokpe, where the Blessed Virgin is to appear.
Pages 52-109 Analysis
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.
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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
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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.
Pages 110-205
Part 2: “SPEAKING WITH OUR SPIRITS Before Palm Sunday”
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Pages 110-139 Summary
Aunty Ifeoma’s house is not outwardly impressive; it has low ceilings and cramped sleeping
quarters, but is comfortable and has many books and a garden. It is Papa-Nnukwu’s birthday,
so their cousins visit him.
When Aunty Ifeoma’s children return home, Kambili is reticent. Amaka remarks that she talks
in whispers. Jaja and Kambili are exposed to a radically different lifestyle that encourages
openness and awakens them to a plethora of new ideas, sensations, and discoveries.
Living conditions are crude compared to Kambili and Jaja’s privileged life in Enugu, but spirits
are high, and “Aunty Ifeoma and her family prayed for, of all things, laughter” (127).
Jaja discovers a purple hibiscus in the garden and is overwhelmed by its beauty. This spurs
his love for the garden, particularly this unique flower. Kambili’s senses are newly awakened
when Father Amadi arrives on the scene. He is very popular in the community, especially with
Aunty Ifeoma’s family, and treats the children as individuals, thus gaining their immense
respect. Kambili realizes he is the priest who visited their home church. She remains silent
even though she wants to speak.
Pages 140-161 Summary
Cooperation ensues in the household, and Aunty Ifeoma recognizes and cultivates each
child’s gifts and needs. She notes that Jaja’s name is appropriate for him, as there was a Jaja
of Opobo, who was known as “a defiant king […] and when the British came, he refused to let
them control all the trade. He did not sell his soul” (144). Aunty Ifeoma says defiance is good
if used properly.
Kambili notices how Jaja is growing physically and temperamentally. Jaja tells a story about
how Papa broke his finger for missing two questions on his catechism test.
Papa calls to say they can stay in Nsukka longer because soldiers have raided the Standard
and put Ade Coker in custody again. Jaja smiles widely at this news. Papa-Nnukwu is very ill,
so he stays at Aunty Ifeoma’s home, where he shares a room with Kambili, which would be a
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sin in Papa’s eyes. Ifeoma prays for Papa-Nnukwu’s healing and care; Kambili is surprised,
since Papa always prays for Papa-Nnukwu to be converted and saved from the “raging fires
of hell” (150).
Papa-Nnukwu tells a folktale filled with animals and nature references ending with a lesson
about greed. They all laugh together and chant Njemanze! Kambili does not chant, but wishes
she had.
Pages 162-205 Summary
Amaka begins painting a portrait of Papa-Nnukwu. Kambili asks her how Our Lady can
intercede on behalf of a heathen; Aunty Ifeoma is silent, then answers that Papa-Nnukwu is a
traditionalist. Kambili watches him talk to gods, or ancestors, after which she smiles,
something she never does after saying the Rosary at home.
Aunty Ifeoma implores Kambili to speak up when Amaka insults her. She does, finally finding
her voice. Father Amadi and Kambili spend time together, during which they sing and laugh.
He tells her she has good legs for running.
Papa-Nnukwu dies and all are upset. Papa arrives and suggests calling a priest, which makes
Aunty Ifeoma furious since Papa-Nnukwu is not Catholic. Amaka gives Kambili her painting of
Papa-Nnukwu. Kambili does not get a chance to say goodbye to Father Amadi. Kambili, Jaja,
and Papa leave for home.
Mama has a swollen face and a bruised eye when they get home. Jaja asks for a key to his
room, which Papa denies. Kambili admits she knew Papa-Nnukwu was coming to Nsukka but
didn’t call Papa; as a punishment, Papa pours scalding water on her feet. Jaja tells Papa that
he has brought stalks of purple hibiscus to transplant at their house.
Papa pays for Papa-Nnukwu’s funeral. Ade Coker visits, and they talk of publishing a
controversial newspaper story. Tension remains high in the city, and the family is told to be
careful. Kambili and Jaja are invited to Papa-Nnukwu’s funeral and Amaka’s confirmation on
Easter Sunday in Nsukka. Kambili thinks of Father Amadi and how she sees and hears God in
everything because of him.
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Pages 110-205 Analysis
These pages are significant in that they open Kambili and Jaja’s eyes to a different outlook
on life. Aunty Ifeoma’s existence is the antithesis of the one Kambili and Jaja have known.
Hers is not one of luxury, privilege, and wealth. There is no four-story mansion, servants who
perform household duties, or delicacies produced at factories she owns.
As a poorly-paid educator, she struggles financially to provide basic necessities: material
goods are scarce, there is inconsistent electrical power, only simple food, and little space.
Nonetheless, her children recognize the superficiality of these things, along with the inner
wealth they possess. A few physical aspects are emphasized—books, a garden, radio, and TV
—which symbolize the values of knowledge, cultivation, growth, and communication.
The joyful human spirit takes precedence over materialism here, resulting in lightheartedness
and an abundance of laughter, for which Aunty Ifeoma prays, treating it as much of a
necessity as food. Kambili and Jaja’s senses are awakened, as well as their minds. Jaja’s
immediate connection to the glorious, rare purple hibiscus indicates his salvation through it,
as does Kambili’s attraction to the irresistible Father Amadi.
This nurturing environment gives Kambili and Jaja the space and encouragement to grow as
they learn essential skills as members of a larger “tribe” within their family circle, symbolizing
the necessity for guidance and self-sufficiency while simultaneously assuming unique
individual identities. They discover a deep love for Papa-Nnukwu, connecting to a heritage
shared by Aunty Ifeoma and their cousins. Kambili finds her voice, signifying her own
emergence into an independent womanhood.
Papa-Nnukwu’s influence is undeniable; although gravely ill, he transcends this world to
immerse himself and the others in his spiritual domain. His folktale, full of animals and
natural elements, contains many layers of meaning. It entertains and delights, and although
reminiscent of bygone days, its warning against greed is universal.
The mood changes dramatically when Papa-Nnukwu’s death symbolically kills the old ways
and brings readers back to the present disintegrating situation in Papa and Mama’s house.
Kambili and Jaja return home spiritually transformed.
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Pages 206-253
Part 2: “SPEAKING WITH OUR SPIRITS Before Palm Sunday”
Pages 206-216 Summary
Ade Coker dies after a bomb delivered from the Head of State goes off in his hands while he is
at breakfast with his family. Papa feels guilty, continuously prays, and is so distracted by the
threat of soldiers destroying his factories that he neglects enforcing the kids’ schedules.
Kambili and Jaja look at Amaka’s painting of Papa-Nnukwu. Papa catches them, resulting in a
beating so horrific that Kambili almost dies. She spends time in the hospital, takes her exams
there, and gains the respect of the schoolgirls. After her release, she and Jaja return to
Nsukka.
Pages 217-239 Summary
In Nsukka, all are nice to Kambili, especially Amaka. Kambili heals well in this nurturing
environment. Eventually, she does “not even remember that [she] had once hoped never to
open [her] eyes again, that fire had once dwelt in [her] body” (233). Amaka playfully teases her
for being Father Amadi’s sweetheart.
Aunty Ifeoma appears on a list of disloyal lecturers at the university and defends her right to
speak truth. Students continue rioting, and the university is closed. Jaja dwells in the garden,
his haven. Father Amadi and Kambili spend time together at the stadium, where she notices
his fostering nature is similar to Aunty Ifeoma’s.
Men search Aunty Ifeoma’s house for documents designed to sabotage the peace of the
university. She says a realistic option is to join her sister, Aunty Phillipa, in America, where she
can get paid for her work. Jaja says he wants to join her if she goes.
Father Amadi takes Kambili to get her hair done at Mama Joe’s. The shop is a tiny shed in the
Ogige market. Mama Joe notices Amadi is in love with Kambili; otherwise, he would not have
brought her there. Father Amadi mentions that he’s looking for someone to play the role of
Our Lady in the church play, and suggests Kambili try out for the part. Because Kambili has
never acted, she tells him she can’t do it. Father Amadi says, “You can do anything you want,
Kambili” (239). On the way home, they sing in harmony together.
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Pages 240-253 Summary
Kambili, Jaja, Aunty Ifeoma and her children attend church at St. Peter’s Catholic Chaplaincy,
University of Nigeria, a place very unlike St. Agnes at home, with women wearing improper
headscarves and pants. Aunty Ifeoma punishes Obiora after he disagrees with her friend’s
ideas. Amaka tells Kambili the slaps aren’t so bad, and that the discussion afterward is the
worst part. Kambili notes the warm feeling between her and Amaka and believes they are
both thinking how different it is for her and Jaja.
A disheveled Mama unexpectedly arrives in Nsukka via taxi. She has just been released from
the hospital; the doctor has told her to rest, but she has traveled to Nsukka, disclosing that
Papa broke a Bible over her stomach and that she has lost another baby. Papa did not know
she was pregnant. She cries for a long time.
Kambili, Jaja, and Mama return home the next day. Both parents are shells of their former
selves. Jaja remains silent and notices how the transplanted purple hibiscus are about to
bloom. The next day is Palm Sunday. Jaja does not go to communion, prompting the scene
introduced at the beginning of the novel.
Pages 206-253 Analysis
In these pages, Papa’s internal conflict escalates considerably. The guilt of Ade Coker’s death
and the loss of control over his children cause blind rage to overtake reason and turns him
into a sadistic madman. Kambili’s self-sacrificing action to save the remnants of their family
ancestry compels Papa to break those gods forever by driving them out of her once and for
all, but she seizes this crucial moment to hold on tight, knowing she would rather die than live
without these treasures. His reaction is almost deadly when he attempts to beat the newlyfound discovery out of Kambili.
After this heinous incident that does not destroy and instead reinforces Kambili’s convictions,
the only safe place for her is Aunty Ifeoma’s house. Aunty Ifeoma is experiencing as many
external conflicts as Eugene’s internal ones, yet healing and growth continue there for Kambili
and Jaja. As Kambili’s confidence increases, she and Father Amadi allow themselves to love
each other despite outward obstacles, joyfully living in the moment instead of dreading
imminent changes.
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One last heinous domestic incident at home signals the end of Kambili and Jaja’s idyllic stay
in Nsukka. Mama and Papa’s world is dead. Fear no longer rules, and with the impending
blooming purple hibiscus, a new era is dawning. Just as Palm Sunday ushered in the
triumphant trial for Jesus, so It ushers Kambili and her family to a reckoning.
Pages 257-291
Part 3: “The PIECES OF GODS After Palm Sunday”
Pages 257-270 Summary
After Palm Sunday, “everything came tumbling down” (257). Kambili wants it to be a dream
because “[i]t was too new, too foreign, and [she does] not know what to be” (258). Jaja
barricades himself in his room; Papa doesn’t try to force his way in.
Papa has funded Ade Coker’s child’s treatment abroad since; the child couldn’t talk after the
bombing. She can talk now, but later, when Kambili tells Jaja about her condition, he says
she’ll never heal.
The university fires Aunty Ifeoma. She applies for an American visa. Kambili and Jaja leave
for Nsukka the next day. Life there is hard. Kambili discovers Father Amadi will go to
Germany. She walks to the garden, picks flowers still wet with “clean rain” (266), and informs
him she wants to remain with Aunty Ifeoma and Father and never return to Papa’s house.
Pages 271-287 Summary
Content with her Igbo name, Amaka is not confirmed when she refuses to adopt a new name
—a rule enforced by the white missionaries who initially established the church and rejected
Igbo ways.
Aunty Ifeoma, Father Amadi, Amaka, and Kambili finally make the pilgrimage to Aokpe.
Despite the question of Our Lady’s appearance, Kambili exclaims she feels the Blessed Virgin
and thinks, “How could anyone not believe after what we had seen? Or hadn’t they seen it and
felt it, too?” (275). Aunty Ifeoma agrees God is there.
During their last outings together, Kambili tells Father Amadi she loves him. Even though he
remarks on her beauty and says she will have many loves, she denies this. When they all have
dinner with Father that night there is much laughter. However, Kambili is busy, “locking little
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parts of me up” (282). Later, they promise to write to each other, and he holds her as she
cries.
The next day, Aunty Ifeoma and the children visit Odim Hill one last time, climbing to the top
and having a picnic. They all laugh and have a splendid time. That night, Aunty Ifeoma
receives the call from Mama with the shocking news that Papa is dead. Kambili has never
considered the possibility of his death because “[h]e had seemed immortal” (287).
Pages 288-291 Summary
Back at their home, Jaja and Kambili sit staring at the space where the figurines had been.
Mama packs Papa’s things. No visitors are allowed, and Mama speaks more than ever when
she informs others of the family’s wish to mourn privately.
Mama receives a phone call revealing that poison was found in Papa’s body. She then admits
to poisoning his tea, which greatly disturbs Kambili because of the close connection she and
Papa had with the “love sips” of tea they drank together. Consequently, Kambili shouts at
Mama, but Mama does not answer, nor does she respond when Jaja tries to draw her close.
The police arrive later in the day; Jaja lies and says that he has killed Papa with rat poison,
and the police take him away.
Pages 257-291 Analysis
Jaja overtakes the spirit of fear that has pervaded in the house. He emerges as a young man
taking responsibility for his own soul, and Papa, broken and weak, cannot fight back. Kambili
is disorientated in this “foreign” environment where nothing is familiar and seems like a
fantasy. Her dreams often reflect her waking moments.
Amaka is also defiant in refusing to succumb to white ways in the church, mirroring Jaja’s
actions in his home. These are not hateful actions meant to exclude or inhibit ideals; they are
actions against exclusion and inhibition—ones of inclusion and freedom—performed by a
male and female representing the next generation, with the implication they will also continue
to teach their children acceptance.
The pilgrimage toward the end of the novel is timely. The dire circumstances concerning the
characters’ individual and collective lives require healing and illumination, and they are
spiritually ripe to receive blessings from Our Lady, whether real or imagined. Kambili’s faith is
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the strongest when she feels a spiritual presence; Aunty Ifeoma also senses enlightenment,
whether visible or not.
Pages 295-307
Part 4: “A DIFFERENT SILENCE The Present”
Pages 295-307 Summary
Thirty-one months later, and despite Jaja’s confession, Mama has told everyone in town she
killed Papa. They ignore her, thinking she is consumed with grief and denial. After many visits
to see Jaja in prison, Kambili and Mama go once again, this time to deliver the happy news
that Jaja will soon be free. Mama and Kambili arrive at the prison; the conditions there are
deplorable. Jaja is hardened, angry, bitter, and rebels against authority.
While waiting to see Jaja, Kambili thinks of the letters she receives from her cousins in
America; Amaka says they’re getting fat, and the power is on, but they don’t laugh anymore
because they work so much and rarely see each other. Obiora’s letters are the happiest, as he
has a scholarship and is not chastised for challenging his teachers. Kambili also receives
letters from Father Amadi and confesses: “I no longer wonder if I have a right to love Father
Amadi; I simply go ahead and love him” (303).
Upon hearing the news of his freedom, Jaja eats in silence, what Kambili calls “a different
kind of silence, one that lets [her] breathe” (305), although she still has nightmares about the
other kind of silence from when Papa was alive.
On the way out of the prison, Kambili tells Mama they should go to Nsukka and then to
America, to visit Aunty Ifeoma, before going back home again. Kambili laughs, and as she
puts her arm around her mother, Mama smiles and leans toward her. Clouds hang low and the
“new rains will come down soon” (307).
Pages 295-307 Analysis
Kambili has matured considerably since Papa’s death. No longer vulnerable and insecure but
strong and self-assured, she has transplanted the spiritual knowledge from Nsukka to her
own home, and into her own soul, just as Jaja has relocated the purple hibiscus. Her role has
changed from obedient daughter to responsible caretaker, and her disposition is cheerful and
hopeful.
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Jaja, on the other hand, has suffered great spiritual damage in sacrificing himself to save
Mama, but he no doubt believes he made the right choice. His resolve is still strong, but he
still harbors a resentment toward authority, harkening back to his feelings for Papa, and
resists injustice at the expense of his own well-being.
Because this is a temporary situation, there is hope that Jaja will heal, especially once he
returns home to the purple hibiscus and a place of love. It’s possible he will also assume a
new kind of power in the home and community, one that harmonizes old and new.
News from America is disappointing, as the “spirit of family” (98) in Nsukka has altered
considerably. Sacrifice in Nsukka involved a lack of material goods that could be transcended
via a strong familial bond and spirit. Sacrifice in America involves a lack of family comradery
in exchange for material necessities. The spiritual vacuum becomes apparent when Amaka
states they don’t laugh anymore, indicating the core of their joy is gone, a severe loss they
may never regain. Obiora’s promise of education and meaningful work fills this void, to an
extent.
Kambili has gained wisdom and acceptance of her relationship with Father Amadi, now the
embodiment of love beyond mere infatuation. She recognizes her ability to make her own
choices, and in this case, she chooses to love freely, without fear of any personal emotional
pain. Once again, she has incorporated her lessons from Nsukka into her life to her
advantage.
Regardless of Kambili’s undeniable growth, she is still haunted by the dreaded silence of her
early life. Nonetheless, she consciously revels in the “different silence” of peace, acceptance,
and harmony of her adult life. Jaja is also included within this realm of serenity, implying that
he will abandon his temporary harsh exterior and embrace a new, more tranquil existence.
As Mama and Kambili exit the literal prison, they also leave behind the symbolic prison that
held them captive for so long. They are free, and Kambili sees many possibilities for their
future. In revisiting Nsukka, they will become reacquainted with that world of acceptance and
spiritual awakening, while reintroducing those concepts to Jaja, so he may move forward. In
venturing to America, they will see what opportunities look like in a place of free speech and
possibility, and they will reconnect with family. They will return to plant new orange trees in
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their homeland, Abba, a sign of rebirth and growth. Kambili, a joyous independent soul, and
Mama, restored and finally smiling in the end, welcome the cleansing rains that “will come
down soon” (307) and purify the world to create space for a new, hopeful one.
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Character Analysis
Papa (Eugene Achike)
Papa, proud community leader and patriarch, holds high positions in Enugu, Nigeria. His
importance is ubiquitous at St. Agnes Catholic Church, as well as at the factories and
newspaper that he owns. He uses his status, power, and money to reinforce his strict moral
principles and beliefs both in the community and at home. Papa is known to publish truth in
his newspapers and is terrorized for criticizing the new government he welcomes. The
country’s unrest is paralleled with Papa’s—one is public, the other private. Papa embodies the
authoritative patriarch who publicly practices good deeds and exhibits many seemingly
generous acts toward the community, though one wonders whether he is genuine or merely
hiding his subconscious guilt. He is a conflicted soul and complex study of human nature.
As Mama’s husband and Jaja and Kambili’s father, Papa controls every aspect of their lives
based on the dogmatic white “colonial” Catholicism he adopted as a young man. Because of
his belief in this system, Papa violently abuses his family for any slight infraction against it,
showing only a conditional love that alienates them from him. Especially unfortunate is how
Papa shuns his own father and disregards their blood connection completely, replacing it with
isolationism and condemnation.
As Aunty Ifeoma’s brother, Papa's character directly opposes hers. She freely accepts life with
its many flaws, while his unrelenting perfectionism prevents his connection to reality and
instead traps him inside his own mind, which is full of idealistic impossibilities. Thus, his
existence is excruciating not only for himself but also for those around him.
Mama (Beatrice Achike)
Mama portrays the classic wife and mother figure whose sole purpose in life is to have a
husband and children. She eschews formal education, believing its independent ideas for
women are unrealistic and unnecessary. She accepts the traditionalist beliefs Papa scorns,
but does not wish to revolt against him until he pushes her too far. Her women’s group
engages in customary practices, illustrating that Mama’s concepts of womanhood reach into
the past. Mama’s gentle, self-sacrificing, and subservient attitude prevents her from
recognizing her own worth as a human being, individual identity, or unique voice. When Papa
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destroys the world she defends—that of the wife and mother—it causes a psychotic break so
severe that she must attempt to salvage what she can of the children’s lives and exorcize the
demon ravaging their souls.
Mama’s life is directly related to her cherished figurines: fragile and shattered, signifying that
a woman’s identity is crucial to her well-being, and dependence on another to bring fulfillment
to ones’ life is risky at best, and tragic at worst. Mama is tired throughout the novel; her
psyche is tremendously damaged in the end, but she still has Kambili and Jaja, both of whom
symbolize hope for new beginnings.
Kambili Achike
Kambili, the 15-year-old first-person female narrator of the novel, embodies obedience and
silence early on, but her self-awareness emerges as the story unfolds. Kambili is a flowering
teen ripe for new experiences, so when she beholds a world of new possibilities, she
eventually embraces them and finds her own voice. She also finds love through Aunty
Ifeoma’s acceptance, Father Amadi’s romantic love and confidence-building influence, and
Amaka’s sisterly companionship. As she grows, she gains wisdom, strength, compassion, and
purpose. Her spiritual transformation is complete only after heartbreaking incidents, physical
and emotional suffering, and sacrifice. Ultimately, Kambili emerges victorious, an enlightened
soul unafraid to laugh and full of hope for a future rich in beauty and opportunity.
Jaja (Chukwuka Achike)
Jaja is 17 and Kambili’s brother. He possesses wisdom beyond his years and is compared to
a defiant king with the same name, living up to that moniker after living a life of imposed
restrictions. After discovering a life of freedom in Nsukka, he becomes angry and
disillusioned; he rejects Papa’s world and embraces his own. He, along with his country,
Nigeria, are changing as a result of violence and unrest. Readers see his physical growth
through Kambili’s eyes, as well as his spiritual transformation when he identifies with the
purple hibiscus. Like the flower, Jaja realizes his wishes to become a uniquely modern man
while still retaining his ancestry.
Jaja claims the masculine role of protecting family at his own expense, ultimately resulting in
the hardening of his soul and literal imprisonment, where he remains dejected and bitter. He
has paid the price for the sins of his father and mother, but there is freedom and hope in his
future.
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Aunty Ifeoma
Aunty Ifeoma, matriarch and Papa's sister, embraces life as a liberated woman, university
professor, widow, and mother of three. Open, fearless, and realistic, Aunty Ifeoma stands in
stark contrast to her brother, the religious zealot. She readily accepts customary folklore as
well as Catholicism. Both Papa and Aunty Ifeoma instill values in their children, but she
encourages each child’s individuality instead of rigidly molding them. Kambili revels in Aunty
Ifeoma’s independent spirit and, most of all, her uninhibited laughter, a quality Aunty Ifeoma
considers important enough to pray for.
Aunty Ifeoma must be resourceful, as her life is devoid of material wealth. She becomes
stronger through hardship, unlike Mama, who has countless material comforts but lacks joy.
In teaching Amaka, Obiora, and Chima self-sufficiency and confidence in their respective
talents and abilities, Aunty Ifeoma has given them tools for survival in a changing world.
Amaka
Amaka, Aunty Ifeoma’s 15-year-old daughter, has been encouraged to speak her mind and
express herself. At first, she treats the naïve Kambili with skepticism, even disdain, but
eventually grows to love, nurture, and protect Kambili.
Amaka serves as a foil to Kambili’s character in that she possesses the traits Kambili does
not, therefore highlighting the areas of Kambili’s sensitivity that need revealing.
Consequently, it is she who introduces Kambili to the modernity of girls her age, teaches her
how to cook, and opens her eyes to many new things.
Amaka’s sensibility is strong, and she has many interests and talents. She listens to
meaningful music, sings beautifully, paints well, and absorbs modern culture via radio and
TV. She is genuine, forthright, and politically and culturally conscious, holding a deep
reverence for her homeland and defending its right to exist. It is Amaka who is unhappy about
the move to America, a land where she says, “we don’t laugh anymore, […] because we don’t
have the time to laugh, because we don’t even see one another” (301).
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Obiora
Obiora, Aunty Ifeoma’s son, is cerebral, world-savvy, and wise beyond his years. His political
shrewdness begets cynicism regarding authority and government, although Aunty Ifeoma
chastises him at times not for what he has said, but for how he has said it. Despite Obiora’s
skepticism of the systems in place, he aspires to attain a university education and is ecstatic
upon receiving a scholarship in the US, foreshadowing a bright future.
Papa-Nnukwu
Papa-Nnukwu, Papa and Aunty Ifeoma’s father and grandfather to their children, represents
the ancestral patriarch in Nigerian society who retains its rich cultural language and folklore.
He lives a sparse life materially, but one rich in spirituality. He is childlike, so the
grandchildren have an innate connection to his lively manner and magical presence. His
storytelling skills captivate them, the stories themselves giving natural explanations for a
world before TV and radio.
Aunty Ifeoma calls Papa-Nnukwu a traditionalist, while Papa calls him a heathen, a
heartbreaking reality that deprives both Papa-Nnukwu and Papa from any semblance of a
father/son relationship. Papa offers Papa-Nnukwu a life of luxury only if he converts to
Catholicism, but he refuses to break from his indigenous religion. Papa-Nnukwu blames
himself for and regrets letting Papa listen to the white British missionaries who converted
him, symbolizing the sins of the father carrying over into the following generation of sons,
much like Papa does with Jaja.
When Papa-Nnukwu dies, the old ways die. Fortunately, his adoring grandchildren embrace
his lessons, punctuated by his spirit of unconditional love. In continuing Nigerian customs,
albeit infused with modernity, the grandchildren keep Papa-Nnukwu’s ways alive.
Father Amadi
Father Amadi is the boyish, handsome, charismatic man loved by all the girls but untouchable
because of his dedication to God. He is a priest who realizes the value in maintaining some
old customs while introducing the new. He symbolizes a fresh, tolerant, ecumenical religious
approach and focuses on the youth, indicating his is the religion of future generations.
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He uses his voice freely to sing Igbo songs and spread the word of God. His beautiful voice
touches others’ emotions, especially Kambili’s. As teacher and guide, he encourages children
to question life and supply their own answers, much like Aunty Ifeoma does with her children.
Father Amadi exemplifies the spiritual model: insightful, open, compassionate, trustworthy,
lighthearted, and most of all inspirational. He is the righteous Christ figure without blemish
who introduces Kambili to her own spiritual independence involving confidence, free will, and
joy. Even though he and Kambili share a romantic love for each other, Father Amadi will not
voice this fact, thus their unconditional love for each other takes precedence over any
corporeal love that could exist and ultimately damage their relationship.
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Themes
The Dangers of Intolerance and Spiritual Transformation
Authoritative, judgmental, and pious to a fault, Papa’s fanatically-religious attitude alerts
readers to the dangers of intolerance. Although his public displays of pompous devotion
coupled with generous monetary gifts to church and community give him a reputation as a
virtuous man, his private acts of vicious abuse reveal his true intent—to enforce an
isolationist form of religion based on the foreign “colonial” Catholicism he adopted when
young. As Kambili notes:
Papa changed his accent when he spoke, sounding British, just as he did when he spoke to
Father Benedict. He was gracious, in the eager-to-please way that he always assumed with
the religious, especially with the white religious (46).
Papa’s insincere affectations reveal a superficial approach to religion that cannot indefinitely
withstand reality’s truths, in this case his own intrinsic ancestral customs. He shuns all other
methods of worship and enforces impossible expectations on his family to adhere to new
ways, often physically abusing his family in order to break their connection to the old ways.
All family members in Papa’s household exemplify round, dynamic characters—complex,
multi-faceted individuals who undergo spiritual transformations, whether positive or negative,
initiated by Papa’s unflinching stance on religion and the pivotal visit to Nsukka. Papa breaks,
as do his idealized gods, when he loses his grip on his family and life in general. In essence,
Papa exhibits in microcosm the failure of colonial ideology: “At work here Is not only a
specific colonial project of disciplining the native body against the propensity for laziness or
sexual excess, but also the foundational dualistic logic of Western philosophical discourse in
which mind and body are polarized and hierarchized” (Sandwith). Papa cannot maintain so
radical and tight a grip on his household, and so the heirarchy shatters, just as colonial
Nigeria did. Mama’s life shatters when she is forced to save her children. Kambili and Jaja,
impressionable adolescents, experience a tremendous amount of change at their exposure to
Aunty Ifeoma’s world and her accepting ways. Jaja gains wisdom and courage; Kambili gains
compassion and confidence. Gods are broken, too—either destroyed completely or recreated.
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Freedom of Speech and Postcolonial Politics
Characters’ respective voices are valuable tools throughout the novel. They sing, laugh, and
express. Both country and characters find a voice and fight for the right to speak truths that
have previously been silenced. Kambili is introduced to personal freedom of speech in
Nsukka. When she beholds Aunty Ifeoma the first time, she admits, “I could not tear my ears
away” (76) upon hearing Aunty Ifeoma’s bold, open way of speaking her mind without fear of
retaliation. When Amaka “turned the cassette player on, nodding to the polyphonic beat of
drums [she] listen[ed] mostly to indigenous musicians. They’re culturally conscious; they have
something real to say’” (118), Kambili notices the importance and worth of her indigenous
roots, as well as the power of truth through verbal communication.
Papa silences Kambili and Mama in their home with his violence just at the postcolonial
government silences Papa's newspaper: “Central to the political concerns of the novel is the
narrative of Western colonial negation” (Sandwith). When Kambili is surrounded by voices,
she recognizes that even without an intended purpose, the opportunity to speak is crucial,
and the words themselves hold power. Using one’s voice is essential, whether collectively, as
in Nigeria’s struggle for change, or individually, as in Kambili’s effort to find her own, and free
herself.
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Symbols & Motifs
The Purple Hibiscus
The natural world flourishes throughout the novel, imbuing scenes and creating character
interconnectedness. The purple hibiscus represents hope for a harmonious fusion of past
and present to create a kinder, more tolerant future.
The hibiscus is symbolic of hospitality and “old royalty,” and is meant to bring power and
respect. It is a special gift to one who is loved and admired, holds a meaning of the
immortality of love, and is said to have a calming effect. In the novel, “old royalty” alludes to
the ancestral heritage slipping away at the hands of intruders. Power and respect correspond
to the commanding presence in public and private realms, and the hospitable flower planted
in personal gardens welcomes visitors in both Papa and Aunty Ifeoma’s gardens.
Papa’s red hibiscus represents a fierce energy, whereas Aunty Ifeoma’s purple hibiscus,
which is a “deep shade of purple that [i]s almost blue” (128) tempers that ferocity with the
calm stability of blue to create an energy forged from the old ways. This idea can be applied
to both the novel’s familial and communal worlds, both of which are traveling at a rapid pace
toward a distinctly different future. For example, when soldiers tug at the hibiscus’s red
blossoms, they identify with its energy.
Red and blue can also signify the two distinct worlds of old and new blending to form a
harmonious world. Jaja transplants the purple hibiscus as a gift to his family and an emblem
of what the family and world can be—one of cooperation and inclusion as opposed to one of
only “one color” and one way. This flower’s hue, which arrives as a result of experimentation,
directly mirrors external factors.
Purple is also associated with power, wisdom, and rarity, so it’s fitting that Jaja most closely
identifies with these qualities. Jaja wants to adopt the male role of protecting his family,
especially the women, and he will gain power as the next patriarchal figure, one who has
grown increasingly wise and brings a new spirituality to the world.
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The Eyes
Even though all five senses figure prominently throughout the novel, the eyes and vision are
especially conspicuous. At first, Kambili and Jaja communicate with their eyes more than
their lips in a home where no one speaks. At the end of the novel, Kambili notices Jaja’s “eyes
[…] have hardened a little every month he has spent here; […] I even wonder if we ever really
had an asusu anya, a language of the eyes, or if I imagined it all” (305). Upon first
encountering Amaka, she likens Amaka to Aunty Ifeoma “[o]nly her eyes were different; they
did not have the unconditional warmth of Aunty Ifeoma’s” (78). During Papa’s darkest days,
dark bags appear under his eyes.
Dreams
Kambili’s dreams reflect recent occurrences connected with emotions, evidenced in the
dream after her first encounter with Aunty Ifeoma: “That night, I dreamed that I was laughing,
but it did not sound like my laughter, although I was not sure what my laughter sounded like.
It was cackling and throaty and enthusiastic, like Aunty Ifeoma’s” (88). Kambili admires Aunty
Ifeoma’s ability to laugh without restraint, and identifies it as her laugh before she even
knows her own. A new joy and new discoveries are beginning to unfold in her, but have not
reached her waking world yet.
Kambili also struggles with discerning between reality and illusion. Much later, when Papa
visits her in the hospital and is “speaking and crying at the same time,” he says, “My precious
daughter. Nothing will happen to you. My precious daughter” (212), Kambili is “not sure if this
was a dream” (212). This scene is dreamlike because it is hard to believe Papa’s words.
Considering Papa almost killed Kambili, the genuineness of what he says is dubious,
especially since he often cries and repents after his violent episodes. When Mama visits
Kambili in the hospital, “[i]t was Mama’s voice, real and next to [her]. [Kambili] was not
dreaming” (213). Kambili, who trusts Mama, recognizes Mama’s genuine presence as
someone who truly cares for her.
At the end of the novel, the dream for the future can be considered a theme in that there are
no guarantees but certainly possibilities for all. Aunty Ifeoma and her children are attempting
to live the so-called “American Dream” in the US, and even though it has flaws, opportunities
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exist. Kambili dreams of a close family relationship with Mama and Jaja and their world full of
rich culture. This dream is not one of idealism or realism, but one melding the two to create a
holistic world of acceptance and love.
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Important Quotes
1. “Things started to fall apart at home.”
(Page 3)
Adichie’s first line of the novel serves as an intentional allusion and tribute to fellow Nigerian
writer Chinua Achebe’s novel Things Fall Apart, portending a domestic situation that unravels
at best and completely disintegrates at worst. Beginning the action in medias res indicates
“things” have been different until this point and after this will continue to worsen. With Papa’s
strong grip on his family slowly loosing, things indeed do fall apart, for better or worse.
2. “A love sip, he called it, because you shared the little things you loved with the people you
loved […] The tea was always too hot, always burned my tongue.”
(Page 8)
Papa is usually quite stern with his children, so when he poignantly shares sips of tea with
Kambili, she lovingly accepts his gift, despite its scalding heat. The heat indicates that even
the “love” he gives his family is too harsh, implying that he cannot reciprocate unconditional
love.
3. “Jaja’s defiance seems like Ifeoma’s experimental purple hibiscus: rare, fragrant with the
undertones of freedom, a different kind of freedom from the one the crowds waving green
leaves chanted at Government Square after the coup. A freedom to be, to do.”
(Page 16)
Jaja craves the rare freedom to be the man he wants to be and is thus compared to the
equally rare purple hibiscus. He also identifies with the complex nature of the flower in its
blend of two colors, red and blue, to create a new hue. The combination of two pure, or
primary colors, also implies that mixing past ways with new ways will create a new and
different future—ideals Jaja will embrace.
4. “The principal, Mother Lucy, wrote, ‘A brilliant, obedient student and a daughter to be proud
of.’ But I knew Papa would not be proud […] I had come in second. I was stained by failure.”
(Page 39)
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When Kambili does not make first girl in her class, she knows she has failed in Papa’s eyes.
Regardless of how positively others see Kambili and how much credit she deserves for her
achievements, Papa will only accept perfection, justifying said perfection as God’s way.
5. “Mud-and-thatch huts stood close to three-story houses that nestled behind ornate metal
gates […] Naked and semi-naked children played with limp footballs […] Our house still took
my breath away, the four-story white majesty of it, with the spurting fountain in front and the
coconut trees flanking it on both sides.”
(Page 55)
This scene reveals the socioeconomic divide between Kambili’s privileged existence and that
of most villagers, who are poor. Ironically, the villagers seem to live fuller lives than those in
isolation, as exemplified by the abuse the family suffers at the hands of Papa.
6. “Papa gave them each ten naira from a wad of notes he pulled out of his hold-all. ‘Greet
your parents, make sure you show them this money.’”
(Page 55)
Papa appears both generous and pretentious as a public figure, but privately he is stingy and
cruel to his family, so his “gifts” arrive as hollow and do more to stroke Papa’s own ego than
they do to show his family that he loves them.
7. “Sometimes life begins where marriage ends.”
(Page 75)
Aunty Ifeoma makes this statement after Mama tells her that every woman must have a
husband and children. Mama cannot understand this attitude and blames Aunty Ifeoma’s
viewpoint as “university talk,” indicating a rift between educated and uneducated women—
those with strictly domestic outlooks as opposed to those with far broader knowledge of the
world. Aunty Ifeoma emphasizes that women don’t need men to fulfill their lives or to provide
for them.
8. “I watched every movement she made; I could not tear my ears away. It was the
fearlessness about her, about the way she gestured as she spoke, the way she smiled.”
(Page 76)
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When Kambili first witnesses the force that is Aunty Ifeoma, she is awestruck. Never has she
been around such an independent woman. Ifeoma is the antithesis of Mama: Mama displays
meekness, subservience, and seriousness, while Aunty Ifeoma exudes strength, confidence,
and cheerfulness. Aunty Ifeoma’s voice strikes Kambili most, as she cannot “tear her ears
away” from the ideas that Aunty Ifeoma boldly professes.
9. “Eugene has to stop doing God’s job. God is big enough to do his own job. If God will judge
our father for choosing to follow the way of our ancestors, then let God do the judging, not
Eugene.”
(Pages 95 - 96)
Papa will not allow his father to enter his house because of Papa-Nnukwu’s religious beliefs,
even though Papa-Nnukwu is dying. Consequently, Aunty Ifeoma is livid when she makes this
emphatic statement to Mama. Christians are forewarned against judging others, and readers
are well aware that Papa is highly judgmental. This attitude eventually erodes all his close
relationships and directly leads to his untimely death.
10. “We said morning prayers […] a string of short prayers punctuated by songs. Aunty
Ifeoma prayed for the university, […] for Nigeria, and finally, she prayed that we might find
peace and laughter today. […] I looked up to seek out Jaja’s face, to see if he, too, was
bewildered that Aunty Ifeoma and her family prayed for, of all things, laughter.”
(Page 127)
Aunty Ifeoma and her family believe laughter is an essential quality in life. Laughter provides
joy amid strife and difficulty. It refreshes and heals the soul and is a shared experience, and
often contagious. If laughter is lost, life is not worth living.
11. “Aunty Ifeoma prayed for Papa-Nnukwu. She asked God to stretch a healing hand over
him […] She asked the Blessed Virgin to pray for him. She asked the angels to take charge of
him […] When Papa prayed for Papa-Nnukwu, he asked only that God convert him and save
him from the raging fires of hell.”
(Page 150)
Kambili is taken aback at the blatant disparity between Aunty Ifeoma and Papa’s prayers for
Papa-Nnukwu. Aunty Ifeoma’s prayers exemplify compassionate, caring, direct, and soulful
concern for his well-being, while Papa’s prayers remain distant, condemnatory, illusive, and
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devoid of any feeling for his own father because of his beliefs. Kambili now realizes how
different her own world is compared to the one in Nsukka.
12. “Then I heard Amaka’s sobbing. It was loud and throaty; she laughed the way she cried.
She had not learned the art of silent crying; she had not needed to.”
(Page 155)
Kambili notes how Amaka unapologetically releases her emotions. In this case, Papa-Nnukwu
has just died, and Amaka is deeply affected by his passing, so she cries with abandon.
Kambili also discerns the difference between the way she has learned to cry, which she
deems “the art of silent crying,” in which one is forced to suppress genuine emotions and
replace them with silence. This is in stark contrast to Amaka’s liberated expressions of
emotion.
13. “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 to her!’ […] ‘So your voice can be this loud,
Kambili,’ [Amaka] said.”
(Page 170)
Kambili has difficulty speaking because she stutters and cannot correctly form the words she
wants to express, a frustrating and embarrassing reality. Her fear of Papa’s disapproval
deters her speech as well. Speech is free and encouraged at Aunty Ifeoma’s, but Kambili
remains reticent. Only when Aunty Ifeoma, the strong female who serves as Kambili’s role
model, pushes her does Kambili finally find her voice and use it freely.
14. “‘See how your cousin sits quiet and watches?’ Father Amadi asked, gesturing to me. ‘She
does not waste her energy in picking never-ending arguments. But there is a lot going on in
her mind, I can tell.’”
(Page 173)
Kambili uses her newfound voice sparingly, but Father Amadi senses that her mind is active.
He admires her ability to witness and analyze the world around her, a strength she proves to
readers with her acute observations throughout the novel.
15. “Didn’t he know that I did not want him to leave, ever? […] My chest was filled with
something like bath foam. Light. The lightness was so sweet I tasted it on my tongue, the
sweetness of an overripe bright yellow cashew fruit.”
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sweetness of an overripe bright yellow cashew fruit.”
(Page 180)
Kambili’s senses are alive when around Father Amadi; she smells his cologne, notices his
smooth skin, hears his melodious voice, and tastes the sweet lightness she feels inside when
she yearns to tell him what is in her heart. Her feelings for him have matured and are “overripe
fruit,” meaning it is past time for her to open up to him. However, Father Amadi knows how
Kambili feels, and verbalizing those emotions would be futile, as he has no choice but to
ultimately live a life separate from her.
16. “‘Papa-Nnukwu is alive,’ Jaja said in English, with authority, as if doing so would make his
words come true. The same tone God must have used when He said, ‘Let there be Light.’”
(Page 183)
Jaja recognizes Papa-Nnukwu’s spiritual worth and that his “heathen” beliefs are enough to
bring him life after death. This idea contrasts Papa’s belief that his father will be eternally
doomed if he is not religiously converted. Jaja makes this statement with such authority,
Kambili cannot help but notice his wise and omniscient manner.
17. “Mama was at the door when we drove into our compound. Her face was swollen and the
area around her right eye was the black-purple shade of an overripe avocado. She was
smiling.”
(Page 190)
Upon their return home, Kambili and Jaja notice that Mama has endured yet another beating.
The “black-purple” color represents Papa’s black heart, while the purple and purple represents
the power that Papa is fighting against. The overripe fruit indicates it is past time for Papa to
pay for his sins against his family, and Mama is smiling because her children are returning
home. They are her refuge and chief reason for living.
18. “Papa’s prayer before dinner was longer than usual: he asked God to cleanse his children,
to remove whatever spirit it was that made them lie to him about being in the same house as
a heathen.”
(Page 191)
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Papa is still in denial and blames everyone but himself for his own sins. Instead of
condemning Papa-Nnukwu, he should accept him unconditionally. His impossible
expectations force Kambili and Jaja to “lie” about something they don’t believe is a sin. Papa
needs cleansing, not his children.
19. “I wanted to tell Mama that it did feel different to be back, that our living room had too
much empty space, too much wasted marble floor […] Our ceilings were too high. Our
furniture was lifeless.”
(Page 192)
Kambili’s house isolates individuals separated by space and walls, whereas the limited space
in Aunty Ifeoma’s home brings people together and allows them to interact and coexist in
harmony with each other. Kambili’s house and its trappings correspond to the characters’
empty souls and spiritual glumness.
20. “He laughed and said he believed they could jump higher than they could […] It was what
Aunty Ifeoma did to my cousins, I realized then, […] in what she expected of them […]
believing they would scale the rod. And they did. It was different for Jaja and me. We did not
scale the rod because we believed we could, we scaled it because we were terrified that we
couldn’t.”
(Page 226)
Kambili’s awareness grows as she realizes Father Amadi and Aunty Ifeoma both instill
confidence in youth through love, which motivates the children to achieve whatever they
attempt. Aunty Ifeoma expects her children to believe in themselves; this is not based on an
external force that expects perfection, as Papa would.
21. “I smiled. I had never felt the companionship I felt sitting next to her, listening to her Fela
and Onyeka cassettes on the tiny tape-player-radio […] I had never felt the comfortable
silence we shared.”
(Page 247)
Eventually, Amaka fully accepts Kambili, and their relationship becomes symbiotic, and even
affectionate and sisterly. She introduces Kambili to popular culture through music, a pleasure
they share without having to talk. Kambili embraces this level of “comfortable silence” with a
kindred soul who functions as something akin to a spiritual guide to Kambili.
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22. “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 […] 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.”
(Page 268)
Kambili fears Papa and craves his approval through much of the novel. Psychologically, she
is still conditioned to this type of response when talking to her father, but emotionally and
spiritually, she has changed and recognizes her intuition telling her what she knows is truth—
she will have no freedom until she breaks from Papa completely.
23. “‘They did an autopsy’, she said. ‘They have found the poison in your father’s body […] I
started putting the poison in his tea before I came to Nsukka. Sisi got it for me; her uncle is a
powerful witch doctor.’”
(Page 290)
Given that Mama has endured so many years of horrific physical, emotional, psychological,
and spiritual abuse, her actions make sense. In an act of silent revenge, she maintains her
subservient demeanor as she poisons Papa’s tea. She depends on “pagan practices” to do
the deed, symbolizing her refusal to completely adopt Papa’s ways.
24. “Nsukka could free something deep inside your belly that would rise up to your throat and
come out as a freedom song. As laughter.”
(Page 299)
Kambili reflects on her time in Nsukka, noting how its restorative qualities plumb the depths
of the human experience to reveal liberty and joy. This special place is filled with folklore,
natural beauty, healing power, education, art, and music. Nsukka is especially significant
because it’s where Kambili and Jaja flower and find themselves.
25. “Silence hangs over us, but it is a different kind of silence, one that lets me breathe. I have
nightmares about the other kind, the silence of when Papa was alive.”
(Page 305)
At the end of the novel, Kambili recognizes two types of silence—one that restricts and
chokes versus one that frees and opens Kambili to possibilities, hope, and acceptance. In the
years since Papa’s death, Kambili has grown wiser and more lighthearted. Her outlook has
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changed and is nonjudgmental. Although she will never forget the silence of fear, this new
silence gives her space to be herself and to explore the newly blossoming world.
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Essay Topics
1. Gender roles evolve considerably from one generation to the next in this novel. How are
Papa and Jaja’s roles similar, and how are they dissimilar?
2. Empowerment for women is exemplified in various ways in each of the main female
characters: Mama, Ifeoma, Kambili, and Amaka. Discuss one way each of these women is
empowered in the story, whether through their own actions or as a result of an outer force
that creates that sense of confidence.
3. Trace Papa’s abuse: what causes it, and how do the family members respond?
4. Silence is a major factor in the novel and has both positive and negative connotations. At
the beginning of the novel, “Children should be seen and not heard” is an apropos adage in
Papa’s household. Mama is also quiet, and most sounds in the house relate to religion or
disturbing noises behind closed doors. What does “silence” mean here, and how does it
compare to the “different silence” at the end of the novel?
5. How does music function in this novel? Describe a few specific instances when the
characters are emotionally affected by music.
6. Laughter is an essential element in Aunty Ifeoma’s world, and Kambili has embraced a life
of laughter by the end of the novel. Why is laughter so important to these characters?
7. What is the novel’s message about traditions and their importance? Specifically, how does
Papa-Nnukwu follow tradition, and how is this different from Papa’s religion? Why is it
necessary keep a bygone culture alive in the modern world?
8. Discuss the difference between Kambili and Jaja’s lives before and after Nsukka, in relation
to self-sufficiency. What skills do Kambili and Jaja learn in Nsukka? How will these abilities
serve Kambili and Jaja in the future?
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9. The statement “God works in mysterious ways” is mentioned several times as an answer
for the inexplicable, or as a form of comfort. Kambili utters this for Mama when Papa dies.
Considering the cause of his death and the events that follow, in what possible “mysterious
ways” is God working through this particular, crucial incident in the book?
10. Besides the prominent purple hibiscus, more subtle natural features such as dust, rain,
fruit, and trees appear at different times representing various aspects of the story. For
instance, rain has both positive and negative connotations, depending on the situation. Select
two of these elements and explain how each enhances the story in at least two separate
ways.
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Teaching Unit
Teacher Introduction
Purple Hibiscus
Genre: Fiction; historical
Originally Published: 2003
Reading Level/Interest: Lexile 920L; grades 9-12; college/adult
Structure/Length: 4 parts; approx. 307 pages; approx. 11 hours on audio
Protagonist and Central Conflict: Fifteen-year-old Kambili Achike lives in pre-civil war
Nigeria in the 1960s; she must weather not only the political turmoil of her nation but
also the physical and emotional abuse from her controlling father at home.
Potential Sensitivity Issues: Physical and emotional abuse of family members; race and
gender conflicts
Chimamanda Ngozi Adichie, Author
Bio: Born in 1977 in Enugu, Nigeria; lost family members and family possessions during
the Nigerian Civil War; attended the University of Nigeria before arriving in the US to
study at Drexel University in Philadelphia and the Eastern Connecticut State University;
later attended Johns Hopkins University for creative writing; awarded 16 honorary
degrees from prestigious colleges and universities and earned the Macarthur Fellowship
“Genius grant” honor (2008); inspired and influenced by Nigerian writer Chinua Achebe;
has given several TEDx talks on cultural understating, feminism, and the influence of
background and history on individuals
Other Works: Half of a Yellow Sun (2006); Americanah (2013); We Should All Be
Feminists (2014)
Awards: Hearst-Wright Legacy Award (2004); Commonwealth Writers Prize (2005)
CENTRAL THEMES connected and noted throughout this Teaching Unit:
The Dangers of Intolerance and Spiritual Transformation
Freedom of Speech and Postcolonial Politics
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STUDY OBJECTIVES: In accomplishing the components of this Unit, students will:
Develop an understanding of the cultural and social contexts regarding postcolonialism
that incites Kambili’s conflict.
Analyze paired texts and other brief resources to make connections via the text’s themes
of The Dangers of Intolerance and Spiritual Transformation and Freedom of Speech and
Postcolonial Politics.
Plan and design visual media in the form of a book trailer that conveys plot and character
traits based on the novel.
Analyze and evaluate plot and character details to draw conclusions in structured essay
responses regarding the motif of laughter, traditions, and other topics in the novel.
BEFORE READING
Reading Context
Use these questions or activities to help gauge students’ familiarity with and spark their
interest in the context of the work, giving them an entry point into the text itself.
Short Answer
What meaning do the terms colonialism and postcolonialism have in the modern world?
Considering the differences between the two terms, what appears to be key in sparking
postcolonial conflicts? How did colonialism play a role in the Nigerian Civil War? Note other
key facts you might know about this war, such as the demographics of the people involved
and the reason why many countries were involved during the war.
Teaching Suggestion: Purple Hibiscus takes place shortly before the Nigerian Civil war. The
protagonist in the novel, Kambili, is forced to navigate family differences due to colonial
influence. Kambili’s father is a staunch Christian advocate while her grandfather is more
traditional, creating family tensions. Postcolonial conflicts were key in creating division in
Nigeria at the time in which the novel takes place. It may be beneficial to discuss the
consequences of colonialism generally as well as in Nigeria, why postcolonial conflicts are
triggered, and the differences between social groups in Nigeria to better inform students’
comprehension.
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If students have little background knowledge of the Nigerian Civil War, the questions
pertaining to this topic might be addressed after students complete pre-reading investigation
using these or other sources.
This two-minute video describes why there is a division between northern and southern
Nigeria.
This article explains possible triggers in postcolonial conflict.
This 5-minute video describes the Nigerian Civil War.
Short Activity
In small groups, look at the images and objects displayed around the classroom that
represent motifs, symbolism, and plot details from the novel. Use these images and objects
to make predictions about Purple Hibiscus. Write your predictions on the paper provided near
the image before moving to the next picture or object.
Teaching Suggestion: Prior to the arrival of students, collect printed images and/or symbolic
items that represent important details from the novel. Poster-sized paper, flip charts, or paper
from a banner roll placed near each image might work well for students to use in recording
prereading responses. It may be beneficial to place the items in different locations to create
ease of movement; consider dividing students into small groups with only a handful of
students viewing each image or object at one time. (Instructions for a carousel can be found
here.) Images can also be shared digitally through a shared slides presentation. Once
students add their predictions, they can discuss their thoughts as a small group before
having a larger class discussion. Suggestions for pictures and items are listed below.
Purple Hibiscus
Aro Festival
Nigeria
Nigerian Civil War
Family/Extended family
Dreams
Eyes
Freedom of Speech
Intolerance
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Personal Connection Prompt
This prompt can be used for in-class discussion, exploratory free-writing, or reflection
homework before reading the novel.
What generational differences do you recognize in your family? How do perspectives change
as the culture changes? What steps do people take to preserve their generational ideas? What
influences cultural changes?
Teaching Suggestion: The primary conflict in the novel centers on the repercussions of
colonial influence on Nigerian culture. Consider discussing cultural changes and how
perspectives alter from generation to generation.
Differentiation Suggestion: For students who require an additional challenge, consider asking
students to research different generations and identify factors that influenced the
perspectives of those generations. Students may wish to share findings, or for an extra
challenge, lead an open-ended discussion with peers on conflicts that arise due to
generational differences.
DURING READING
Reading Questions & Paired Texts
Reading Check and Short Answer Questions on key plot points are designed for guided
reading assignments, in-class review, formative assessment, quizzes, and more.
Part 1, Pages 3-16
Reading Check
1. What church service does Jaja refuse to attend?
2. What does Papa throw at Jaja?
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Short Answer
Answer each question in at least 1 complete sentence. Incorporate details from the text to
support your response.
1. How does Papa try to control what happens in his family? Do you think it is effective?
2. What is Kambili referring to when she says the family spoke more “with their spirits than
their lips”? What change in her family dynamics is she highlighting?
Paired Resource
Nigerian Culture
This article offers some details on Nigerian culture.
What is unique about Nigeria’s population in Africa? What are some notable points
regarding arts, culture, and people of the country? What connected ideas might relate to
the themes of Freedom of Speech and Postcolonial Politics and The Dangers of
Intolerance and Spiritual Transformation?
Part 2, Pages 19-51
Reading Check
1. Who sings traditional songs at Mass?
2. How does Mama lose her baby?
3. What does the family pray for while Mama is in the hospital after losing her baby?
Short Answer
Answer each question in at least 1 complete sentence. Incorporate details from the text to
support your response.
1. What does Papa vow to do when the government coup occurs?
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2. What does Papa expect of Kambili’s performance in school and how does he reinforce this
idea to her?
3. Why do other students think Kambili is a snob?
Paired Resource
Perfectionism
This article describes why perfectionism is harmful.
Why does perfectionism often do more harm than good? What are the different aspects
of perfectionism? Where can perfectionism come from? What can parents do to prevent
perfectionism? How is this article related to the novel’s characters and theme of The
Dangers of Intolerance and Spiritual Transformation?
Part 2, Pages 52-109
Reading Check
1. What does Kambili become at school?
2. What does Papa become in Abba on Christmas break?
3. Who does Papa shun for embracing the old ways?
4. What is the name of the festival Kambili and Jaja attend with Aunty Ifeoma and her family?
5. What does Aunty Ifeoma reveal about Papa-Nnukwu’s health?
Short Answer
Answer each question in at least 1 complete sentence. Incorporate details from the text to
support your response.
1. How does Kambili feel about her Papa-Nnukwu? How does his personality differ from her
father?
2. What emotions does Kambili associate with Aunty Ifeoma’s family and how does this
compare to her own?
Paired Resource
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Abusive Family Structures
Teacher-appropriate; not student-facing; mentions of abuse (including sexual abuse)
This article describes the family structures of abusive relationships and may provide
ideas and language for sensitive discussion points on the topic.
Connected discussion points might include how Kambili’s family exhibits characteristics
of an abusive family structure; how the rules in Kambili’s household indicate abuse at
home; how victims of abuse cope with their own feelings and that of the abuser; the
three “rules” of dysfunctional families.
Part 2, Pages 110-205
Reading Check
1. What surprising thing does Aunty Ifeoma pray for?
2. What unique flower does Jaja find in the garden?
3. What minister is a guest in Aunty Ifeoma’s home?
4. Who does Amaka paint a portrait of?
Short Answer
Answer each question in at least 1 complete sentence. Incorporate details from the text to
support your response.
1. Why do the children stay longer with Aunty Ifeoma than expected?
2. Aunty Ifeoma tells Kambili to stand up for herself, and when she does she says that she
has “found her voice.” Why is Kambili often silent when she wishes to speak out?
3. Why does Papa pour scalding water on Kambili’s feet?
Paired Resource
Difficulties Facing Post-Colonial Societies
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This article describes the postcolonial problems Africans face with the division of land
imposed by Europeans during colonization.
What effect has the partitioning of Africa had on postcolonial African cultures? What are
the proposed solutions to these conflicts? How have conservation areas served the
Africans in merging colonial borders? How is this article related to the novel’s theme of
Freedom of Speech and Postcolonial Politics?
Part 2, Pages 206-253
Reading Check
1. What kills Ade Coker while he is at breakfast with his family?
2. Why is Kambili brutally beaten almost to the point of death?
3. Who does Father Amadi remind Kambili of?
4. Where does Father Amadi take Kambili to get her hair done?
Short Answer
Answer each question in at least 1 complete sentence. Incorporate details from the text to
support your response.
1. What does Kambili notice about the attire worn in St. Peter’s Catholic Chaplaincy?
2. Why does Mama come to Nsukka and what does she reveal?
Part 3, Pages 257-291
Reading Check
1. What happens to Aunty Ifeoma’s university job?
2. Where does Father Amadi plan to go?
3. What does Amaka refuse to do when the missionaries initially established the church?
4. What news does Mama have of Papa when she calls Aunty Ifeoma?
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Short Answer
Answer each question in at least 1 complete sentence. Incorporate details from the text to
support your response.
1. What does Kambili like about Father Amadi?
2. What is revealed about the way Papa died and who takes the blame for his death?
Part 4, Pages 295-307
Reading Check
1. What does Mama tell everyone in town about Papa’s death?
2. What news does the family learn about Jaja’s incarceration?
Short Answer
Answer each question in at least 1 complete sentence. Incorporate details from the text to
support your response.
1. What changes have overcome Jaja since his incarceration?
2. How do Kambili’s relatives describe life in America?
Recommended Next Reads
Homegoing by Yaa Gyasi
This novel follows two halves of one family spanning seven generations as they have two
different experiences-- one in the slave trade and the other in Ghana.
Shared topics include family, oppression, and African history
Shared Themes include The Dangers of Intolerance and Spiritual Transformation and
Freedom of Speech and Postcolonial Politics.
Homegoing on SuperSummary
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Half of the Yellow Sun by Chimamanda Ngozi Adichie
This novel is about five characters who find themselves involved in the Nigerian Civil
War.
Shared topics include postcolonialism, complicated family dynamics, and the Nigerian
Civil War.
Shared themes include The Dangers of Intolerance and Spiritual Transformation and
Freedom of Speech and Postcolonial Politics.
Half of the Yellow Sun on SuperSummary
Reading Questions Answer Key
Part 1, Pages 3-16
Reading Check
1. Palm Sunday (Part 1, Pages 3-16)
2. The Bible (Part 1, Pages 3-16)
Short Answer
1. Papa attempts to control his family with his rage and violence. It does not appear to work
as Jaja still does not plan to do as his father tells him. (Part 1, Pages 3-16)
2. Kambili is referring to the gesture of her father allowing her to drink tea. She is comparing
how their family does not have the same deep connections they used to have. (Part 1, Pages
3-16)
Part 2, Pages 19-51
Reading Check
1. Father Amandi (Part 2, Pages 27-36)
2. Papa beats her. (Part 2, Pages 27-36)
3. Her forgiveness (Part 2, Pages 27-36)
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Short Answer
1. He vows to put an end to violence. (Part 2, Pages 19-26)
2. Papa expects Kambili to become first in her class. He visits her at school to share his
disappointment that she is second class, and to stress God’s expectation of perfectionism.
(Part 2, Pages 37-51)
3. Kambili is wealthy and does not speak to the other students. She is afraid to interact with
others because of Papa’s strict guidelines. (Part 2, Pages 37-51)
Part 2, Pages 52-109
Reading Check
1. First girl (Part 2, Pages 52-70)
2. Chief/Omelora (Part 2, Pages 52-70)
3. His own father/Papa-Nnukwu (Part 2, Pages 52-70)
4. Aro festival (Part 2, Pages 71-88)
5. He is dying (Part 2, Pages 89-109)
Short Answer
1. Kambili sees her grandfather as very loving and forgiving. He is not as stringent as her own
father or her other grandfather. (Part 2, Pages 52-70)
2. Kambili has little joy in her own family due to her father’s abuse, but she experiences joy
and laughter in Aunty Ifeoma’s family. She dreams she laughs like Aunty Ifeoma because she
does not know what her own laughter sounds like, indicating she is rarely happy. (Part 2,
Pages 71-88)
Part 2, Pages 110-205
Reading Check
1. Laughter (Part 2, Pages 110-139)
2. A purple hibiscus (Part 2, Pages 110-139)
3. Father Amadi (Part 2, Pages 110-139)
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4. Papa-Nnukwu (Part 2, Pages 162-205)
Short Answer
1. Soldiers have raided the Standard and Papa’s publisher, Ade Coker, is in jail again. (Part 2,
Pages 140-161)
2. Kambili has been taught by her father that it is dangerous to speak out and to have
emotions. Kambili’s father expects perfection and the simplest way to achieve that is to not
say anything. (Various Pages)
3. Sh didn’t tell Papa Papa-Nnukwu was going to be at Aunty Ifeoma’s house. (Part 2, Pages
162-205)
Part 2, Pages 206-253
Reading Check
1. A bomb (Part 2, Pages 206-216)
2. She was caught looking at Amaka’s painting of Papa-Nnukwu. (Part 2, Pages 206-216)
3. Aunty Ifeoma (Part 2, Pages 217-239)
4. Mama Joe’s (Part 2, Pages 217-239)
Short Answer
1. They are wearing pants and improper head scarves. It is very different from St. Agnes at
home. (Part 2, Pages 240-253)
2. Mama reveals that she has lost another baby after Papa, who did not know she was
pregnant, broke a bible over her stomach. She is in Nsukka to take the children home. (Part 2,
Pages 240-253)
Part 3, Pages 257-291
Reading Check
1. She is fired. (Part 3, Pages 257-270)
2. Germany (Part 3, Pages 257-270)
3. Change her name. (Part 3, Pages 271-287)
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4. Papa is dead. (Part 3, Pages 271-287)
Short Answer
1. Kambili likes that Father Amadi is kind and loves laughter like her Aunty Ifeoma. He is
peaceful, unlike her father. Kambili also says that Father Amadi makes her see God in
everything. (Various Pages)
2. Mama reveals that she killed Papa after the police call to say he has been poisoned. The
police arrive to arrest Mama, but Jaja takes the blame for Papa’s death. (Part 3, Pages 288291)
Part 4, Pages 295-307
Reading Check
1. She killed him. (Part 4, Pages 295-307)
2. He will be freed soon. (Part 4, Pages 295-307)
Short Answer
1. Jaja becomes angry, bitter, and rebellious while in prison, likely due to the deplorable
conditions. (Part 4, Pages 295-307)
2. They describe themselves as being fat and having electricity, but laughting less because
they are too busy working. (Part 4, Pages 295-307)
AFTER READING
Discussion/Analysis Prompt
Explain the role postcolonialism plays in the novel. What created the differences between
Northern and Southern Nigeria? How are attitudes altered due to colonial influence? What role
does religion play in the novel and how is it impacted by postcolonialism? In what ways is
wealth distributed due to colonial influence? How are families divided by the changing
perspectives in Nigeria? Why have conflicts arisen in perspectives between family members?
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Teaching Suggestion: Students may benefit from accessing notes, reading questions, and the
text to formulate a response. Guided brainstorming activities may also help in idea generation
and provide evidence and examples for a more structured written response. Consider having
students discuss these questions with a partner or in small groups prior to discussing with
the whole group.
Differentiation Suggestion: For students with executive functioning challenges or who are
English language learners, it might be helpful to encourage students to organize their
responses by the perspectives of each main character. Students can create a t-chart to
identify the characters in one column and their perspectives in the second column.
Activities
Use this activity to engage all types of learners, while requiring that they refer to and
incorporate details from the text over the course of the activity.
“Purple Hibiscus Book Trailer”
In this activity, students create a book trailer promoting interest in Purple Hibiscus.
Purple Hibiscus takes place in Nigeria, but Aunty Ifeoma travels to America to provide for her
family. Pretend that Aunty Ifeoma plans to tell Kambili’s story by sharing it with film
producers. Create a video-recorded trailer or small skit to advertise Purple Hibiscus to an
audience. Use the questions below to guide your thinking.
Where and when does the novel take place?
Who are the characters in the novel?
What do each of the characters care about?
How do the characters respond to different situations?
What conflicts exist in the novel?
What is the resolution?
What is the significance of the purple hibiscus?
Draft, revise, and edit the script and narration for your trailer.
Work cooperatively with a small group to rehearse and film the trailer.
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Share your trailer with the group and be prepared to field questions and facilitate a discussion
after viewing.
Teaching Suggestion: Students may benefit from finding, viewing, and evaluating examples of
book trailers prior to starting the activity. Depending on available resources, students might
be able to record a simple trailer with a tablet or phone; students might be involved in the
creation of guidelines for planning, scripting, and preparation of materials including prop and
costumes. If recording devices are not available, book trailers can be presented “live” in the
form of a skit instead. If you prefer to have students focus more on the symbols and themes
of the book, you may want to consider requiring students to include images and/or
representative objects from the Short Activity in the trailer or skit.
Essay Questions
Use these essay questions as writing and critical thinking exercises for all levels of writers,
and to build their literary analysis skills by requiring textual references throughout the essay.
Differentiation Suggestion: For English learners or struggling writers, strategies that work
well include graphic organizers, sentence frames or starters, group work, or oral responses.
Scaffolded Essay Questions
Student Prompt: Write a short (1-3 paragraph) response using one of the below bulleted
outlines. Cite details from the text over the course of your response that serves as examples
and support.
1. Gender roles evolve considerably from one generation to the next in this novel.
How are Papa and Jaja’s roles similar and dissimilar? ( topic sentence)
Identify and explain three examples from the text that display similarities and differences
between Jaja and Papa and their roles in the family.
In your concluding sentences, explain what causes the differences in roles between Jaja
and Papa.
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2. Laughter is an essential element in Aunty Ifeoma’s world, and Kambili has embraced a life
of laughter by the end of the novel.
Why is laughter important to Kambili and Aunty Ifeoma in the novel? (topic sentence)
Explain why there is so little laughter in Kambili’s family, why laughter is essential for
Aunty Ifeoma’s family, and why Kambili has decided to embrace laughter in her own life.
In your concluding sentences, explain why the author chose to use laughter as a catalyst
to bind Kambili to Aunty Ifeoma.
3. The clash of traditional and contemporary thinking plays a significant role in the
misunderstandings and family conflicts in the novel.
What disputes arise in the novel because of conflicts between traditional and
contemporary thinking? (topic sentence)
Describe the differences between Papa-Nnukwu, Aunty Ifeoma, and Papa’s beliefs
regarding traditional and contemporary thinking.
In your concluding sentences, explain why the author chose these three perspectives to
illustrate the differences in Nigerian ideology.
Full Essay Assignments
Student Prompt: Write a structured and well-developed essay. Include a thesis statement, at
least three main points supported by text details, and a conclusion.
1. Empowerment for women is exemplified in various ways in each of the main female
characters: Mama, Ifeoma, Kambili, and Amaka. Analyze one way in which each of these
women is empowered in the story, whether through their own actions or because of outside
forces that create a sense of confidence.
2. Silence is a major factor in the novel and has both positive and negative connotations. The
adage, “Children should be seen and not heard” is presented as an apropos expectation in
Papa’s household at the beginning of the novel. Mama is also a quiet character, and most
sounds in the house relate to religion or disturbing noises behind closed doors. What does
“silence” mean here, and how does it compare to the “different silence” at the end of the
novel?
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3. Besides the prominent purple hibiscus, more subtle natural features such as dust, rain,
fruit, and trees appear at various times representing different aspects of the story. For
instance, rain has both positive and negative connotations depending on the situation. Select
two of these elements and explain how each enhances the story in at least two separate
ways.
Cumulative Exam Questions
Multiple Choice and Long Answer questions create ideal opportunities for whole-book review,
unit exam, or summative assessments.
Multiple Choice
1. What causes Papa to go to extremes to present himself as a model Christian?
A) He spends a great deal of money to keep his family in good standing.
B) He represents ideas in a newspaper he must uphold.
C) He is concerned about what his community thinks of him and his family.
D) He has adopted a strict system of behavior based on his father’s expectations.
2. What is the significance of the hibiscus flower?
A) The rejection of Papa’s beliefs
B) Balance and harmony
C) Aunty Ifeoma’s political stance
D) Mama’s fortitude
3. What does Papa’s hot tea represent?
A) His generosity toward family members
B) The love that is shared in the family
C) The sting of his control even in kindnesses
D) The oppressive nature of his relationships
4. What other event in the novel re the disintegration of Kambili’s family in the novel?
A) Papa-Nnukwu’s death
B) Kambili’s relationship with Amandi
C) The political atmosphere
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D) The loss of Aunty Ifeoma’s job
5. What does Father Amandi’s music on Palm Sunday represent in Kambili’s family?
A) The difference in opinions on spirituality
B) A distrust of unconventional religious practices
C) The character flaws of Papa
D) A foreshadowing of Mama’s actions
6. What is the novel’s primary conflict?
A) Papa’s violence
B) Mama’s retaliation
C) Papa-Nnukwu’s isolation
D) A spiritual rift
7. What can the reader conclude about Papa-Nnukwu’s opinions on social hierarchy?
A) Fathers are superior to sons.
B) There should not be a social hierarchy.
C) Women are superior to men.
D) Families should have clearly defined roles.
8. What quality does Kambili most admire in her Aunty Ifeoma’s family?
A) Their joy and laughter
B) Their modern ideas
C) Their humble lifestyle
D) Their education
9. What comparison can be made between Papa-Nnukwu and Papa?
A) Both are open to new ideas, but do not value family.
B) Both value family, but Papa is more forgiving.
C) Both are stubborn, but Papa-Nnukwu is loving.
D) Both strive to maintain order, but Papa is more successful in his attempts.
10. What conflicts arise due to postcolonialism in the novel?
A) The embracing of colonialism at the expense of education
B) The colonial oppression of free speech
C) Disagreements between colonials and the Nigerians
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D) Melding cultural identity with colonial ideas
11. Which of the following best describes a lesson that can be learned from Purple Hibiscus?
A) Money doesn’t create happiness.
B) All religion is rigid and strict.
C) Education cures many ails.
D) Death is inescapable.
12. How does Papa use his wealth in his community?
A) To inspire others to achieve more wealth.
B) To bribe church leaders to say what he wants.
C) To sway opinions and behavior in his favor.
D) To influence the schools to make Kambili first girl.
13. What is the symbolic meaning of Palm Sunday in relation to Kambili’s family?
A) It marks a time of reckoning for the family.
B) It represents the coming peace after Papa’s death.
C) It illustrates the end of an era of authoritarianism.
D) It brings a time of maturity for Jaja.
14. How does Aunty Ifeoma change Jaja and Kambili?
A) She impresses on them the importance of defying their father.
B) She exposes them to a freedom they had not known.
C) She shuns the practices of Catholicism in favor of education.
D) She builds their relationship with Papa-Nnukwu.
15. What effect does postcolonialism have on Nigeria?
A) An awareness of strict government control
B) A crisis in national identity
C) Disputes between social classes
D) Shifting ideologies on Sunday services
Long Answer
Compose a response of 2-3 sentences, incorporating text details to support your response.
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1. How do Kambili and Jaja display signs of maturity as the novel progresses?
2. What causes Papa’s abuse and how does the family respond to it?
Exam Answer Key
Multiple Choice
1. C (Various Pages)
2. B (Various Pages)
3. C (Various Pages)
4. C (Various Pages)
5. A (Part 2, Pages 19-52)
6. D (Various Pages)
7. D (Various Pages)
8. A (Various Pages)
9. C (Various Pages)
10. D (Various Pages)
11. A (Various Pages)
12. C (Various Pages)
13. A (Various Pages)
14. B (Various Pages)
15. B (Various Pages)
Long Answer
1. Early in the novel, Jaja and Kambili are concerned about self-preservation. They function
under the heavy rule of their authoritarian father and are afraid to speak up. As the two learn
about love and joy from their aunt, they begin to speak up for themselves and evolve into
caretakers. Jaja takes responsibility for his mother’s actions and Kambili takes care of her
mother while Jaja is in prison. (Various Pages)
2. Papa becomes abusive when the family does not adhere to his strict guidelines and
standards. The family responds by reacting with silence to avoid becoming victims of Papa’s
abuse themselves. (Various Pages)
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