The author of Purple Hibiscus, Chimamanda Ngozi Adichie, claims “the problem with gender is that it prescribes how we should be, rather than recognizing how we are” (“Why we should”). Gender issues are a burden many women face today. Social, political and economic gender issues are ingrained in societies worldwide, including the wage gap, pressure from media, and the lack of female representation in the government. These imbalances and many others become the forces that drive feminist movements globally. Adichie portrays the Nigerian postcolonial feminist movement and challenges of the patriarchal society through Ifeoma, Beatrice, and Kambili. Aunty Ifeoma is the independent, outspoken, radical feminist with a heavy influence on those around
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Initially Papa’s abuse confines Mama, which is evident as she brings Kambili’s school uniform in from the clotheslines and Kambili states that “there was so much that [Mama] did not mind” (19) and “she spoke the way a bird eats, in small amounts” (20). Mama has been beaten into compliance by Papa, rendering her nearly unable to speak for herself. After years of brutality, she has trouble grasping the possibility of a better life without Eugene. Whilst discussing marriage with Aunty Ifeoma, she tells her sister-in-law she believes “‘a husband crowns a woman’s life’” (75). Even through all the emotional and physical abuse, Beatrice struggles to realize the irony of the statement. At this point she represents the millions of women enduring domestic violence on a daily basis, but will soon change. When she makes the decision to poison Papa Eugene to end the abuse, she becomes representative of women typical in radical African-feminist texts. Susan Arndt, a professor of African and gender studies speaks of traditional African-feminist pieces, saying that female characters often “suffer physical and psychological violence at the hands of men. In most texts, the woman protagonist finally kills a man, who represents the violation of women’s rights” (qtd. in “Women’s Struggles”). Mama becomes one of these classic troubled characters when she murders Papa, the man responsible …show more content…
Through her stay at Aunty Ifeoma’s, learns to combat the subjugation. Kambili initially resembles Mama’s quiet and obedient nature. After Mama loses the baby, Papa encourages the family to ask God for her forgiveness, but Kambili recalls that she “did not even think to think, what Mama needed to be forgiven for” (36). Following Papa’s demands and expectations is the only way Kambili knows how to behave in the patriarchal society she lives in. The quest to Nsukka is where Kambili absorbs Ifeoma’s powerful, independent personality and learns to think for herself. There, with Father Amadi she laughs seemingly for the first time in her life. She recalls that “it sounded strange, as if [she] were listening to the recorded laughter of a stranger being played back” (179). This glimpse of happiness marks the beginning of her transformation into a stronger, more self-reliant young woman. The climax of this transition occurs when she is caught with the painting of Papa-Nnukwu. As Papa tells her to back away from the painting, she simply “[curls] around [herself] tighter, around the pieces of the painting” (211). This is her way of revolting against Papa’s oppression and abuse. Although she does not speak up and yell at Papa as Ifeoma may have done, she outwardly expresses her refusal to comply with Papa’s demands. Kambili serves as a balance between
Initially Papa’s abuse confines Mama, which is evident as she brings Kambili’s school uniform in from the clotheslines and Kambili states that “there was so much that [Mama] did not mind” (19) and “she spoke the way a bird eats, in small amounts” (20). Mama has been beaten into compliance by Papa, rendering her nearly unable to speak for herself. After years of brutality, she has trouble grasping the possibility of a better life without Eugene. Whilst discussing marriage with Aunty Ifeoma, she tells her sister-in-law she believes “‘a husband crowns a woman’s life’” (75). Even through all the emotional and physical abuse, Beatrice struggles to realize the irony of the statement. At this point she represents the millions of women enduring domestic violence on a daily basis, but will soon change. When she makes the decision to poison Papa Eugene to end the abuse, she becomes representative of women typical in radical African-feminist texts. Susan Arndt, a professor of African and gender studies speaks of traditional African-feminist pieces, saying that female characters often “suffer physical and psychological violence at the hands of men. In most texts, the woman protagonist finally kills a man, who represents the violation of women’s rights” (qtd. in “Women’s Struggles”). Mama becomes one of these classic troubled characters when she murders Papa, the man responsible …show more content…
Through her stay at Aunty Ifeoma’s, learns to combat the subjugation. Kambili initially resembles Mama’s quiet and obedient nature. After Mama loses the baby, Papa encourages the family to ask God for her forgiveness, but Kambili recalls that she “did not even think to think, what Mama needed to be forgiven for” (36). Following Papa’s demands and expectations is the only way Kambili knows how to behave in the patriarchal society she lives in. The quest to Nsukka is where Kambili absorbs Ifeoma’s powerful, independent personality and learns to think for herself. There, with Father Amadi she laughs seemingly for the first time in her life. She recalls that “it sounded strange, as if [she] were listening to the recorded laughter of a stranger being played back” (179). This glimpse of happiness marks the beginning of her transformation into a stronger, more self-reliant young woman. The climax of this transition occurs when she is caught with the painting of Papa-Nnukwu. As Papa tells her to back away from the painting, she simply “[curls] around [herself] tighter, around the pieces of the painting” (211). This is her way of revolting against Papa’s oppression and abuse. Although she does not speak up and yell at Papa as Ifeoma may have done, she outwardly expresses her refusal to comply with Papa’s demands. Kambili serves as a balance between