Whilst heavily flawed and riddled with consequence, one benefit brought by globalization is the ability to read literature from around the world. One specific novel roots itself in the political and cultural landscape of Nigeria in a post-colonized society, with a violent and authoritarian tone carrying the protagonist through the difficulties of finding oneself. A Middle Eastern novel sets itself in Iran during the Islamic Revolution by comparison, uncertainty about what to believe in a hostile environment for opinions resonates throughout the memoir. Although from seperate countries, a genuine portrayal of the human experience and the universal question of media’s role in other countries are tackled in akin ways throughout the two novels.
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However, Adichie does answer the question of whether it is the migratory nature of Western ideas, or the manner in which they are delivered that is an injustice upon culture. Protagonist Kambili’s first introduction to the Western world outside of the English language and the Catholic religion occurs in Aunty Ifeoma’s home, where her cousins routinely indulge in the latest media. Amaka - her cousin - is the most outspoken in criticizing Kambili’s cultural naivety. Kambili reflects on Amaka’s criticism: “She said ‘teenagers’ as if she were not one, as if teenagers were a brand of people who, by not listening to culturally conscious music, were a step beneath her. And she said ‘culturally conscious’ in a proud way that people say a word they never knew they would learn until they do” (Adichie 118). Amaka serves as a fascinating foil to Kambili, whose only be exposed to a very limited catalog of media - ironically, by the very virtue of having had the privilege of being exposed to differing mindsets. What makes Aunty Ifeoma different is that unlike Eugene, she does not force feed a specific ‘brand’ of media to consume. Her children have the freedom of choice to even consider the academic notion of being culturally conscious. Furthermore, Eugene treats Western ideas rooted in Catholicism as ‘mature’ and ‘eloquent’, whilst dismissing the notion of being culturally conscious of one’s roots. Papa’s scolding of Jaja ensues fear from within Kambili: “He hardly spoke Igbo, and although Jaja and I spoke it with Mama at home, he did not like us to speak it in public. We had to sound civilized in public, he told us; we had to speak English. Papa’s sister, Aunty Ifeoma, said once that Papa was too much of a colonial product. She had said this about Papa in a milk, forgiving way, as if it were not Papa’s fault, as one would talk about a person
However, Adichie does answer the question of whether it is the migratory nature of Western ideas, or the manner in which they are delivered that is an injustice upon culture. Protagonist Kambili’s first introduction to the Western world outside of the English language and the Catholic religion occurs in Aunty Ifeoma’s home, where her cousins routinely indulge in the latest media. Amaka - her cousin - is the most outspoken in criticizing Kambili’s cultural naivety. Kambili reflects on Amaka’s criticism: “She said ‘teenagers’ as if she were not one, as if teenagers were a brand of people who, by not listening to culturally conscious music, were a step beneath her. And she said ‘culturally conscious’ in a proud way that people say a word they never knew they would learn until they do” (Adichie 118). Amaka serves as a fascinating foil to Kambili, whose only be exposed to a very limited catalog of media - ironically, by the very virtue of having had the privilege of being exposed to differing mindsets. What makes Aunty Ifeoma different is that unlike Eugene, she does not force feed a specific ‘brand’ of media to consume. Her children have the freedom of choice to even consider the academic notion of being culturally conscious. Furthermore, Eugene treats Western ideas rooted in Catholicism as ‘mature’ and ‘eloquent’, whilst dismissing the notion of being culturally conscious of one’s roots. Papa’s scolding of Jaja ensues fear from within Kambili: “He hardly spoke Igbo, and although Jaja and I spoke it with Mama at home, he did not like us to speak it in public. We had to sound civilized in public, he told us; we had to speak English. Papa’s sister, Aunty Ifeoma, said once that Papa was too much of a colonial product. She had said this about Papa in a milk, forgiving way, as if it were not Papa’s fault, as one would talk about a person