55 pages • 1 hour read
Summary
Chapter Summaries & Analyses
Character Analysis
Themes
Symbols & Motifs
Important Quotes
Essay Topics
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Ijeoma, our first-person narrator, describes her family home, flora, fauna, and seasons in Ojoto. Her life is uprooted by the civil war between Biafra and Nigeria in 1967.
On Sunday, June 23, 1968, Ijeoma’s family hears there will be a raid and doesn’t attend church. As her Papa Uzo listens to the radio, we learn about his history with the inherited radio-gramophone. Ijeoma recalls overhearing him listen to news stories of people being set on fire. Uzo hugs Ijeoma and reminds her he loves her.
Then, hearing bombers approaching, Ijeoma and her Mama head for the bunker, but Papa refuses to join them, remaining on the sofa. Mama calls after Uzo, but he remains motionless as they are bombed.
The narrative flashes back to a year prior to Ijeoma’s father’s death. Ijeoma prays in church after watching Chibundu play police with other boys outside on the church steps. Chibundu predicts the bombers will reach Ojoto. In response, Ijeoma asks God to be a “magician” (12) and make the war disappear.
After this flashback, the narrative returns to the day of Uzo’s death, to Mama and Ijeoma searching for him in the ruins of their camouflaged house. Ijeoma recalls praying for Papa in the bunker—the sounds of the raid answered her prayers.
The description of their bombed-out house continues, as their neighbors seek items and people. Ijeoma remembers a classroom history lesson about mutiny, when Mrs. Enwere, her social studies teacher, listed the gruesome deaths of leaders before their current Head of State—“Before Ironsi, Azikiwe. After Ironsi, Gowon” (18).
In the bombed house, Mama cries, wails, and pleads over the body of Uzo while Ijeoma remains rooted in place. Some church parishioners come to take Uzo’s corpse, clean and dress it, and then return it to the parlor.
Our narrator pauses to discuss her parents’ names and their meanings. Her mother is named Adaora, which means “daughter of all, daughter of the community” and her Papa’s name, Uzo, means “door” or “the way” (21).
A month after Uzo’s death, Adaora is still not talking about him. When Ijeoma asks about this, Adaora says she is angry at him for committing suicide.
The bombing destroyed their bedrooms, so the women sleep in the parlor together, and Ijeoma hears her mother having nightmares. After recalling her own recurring nightmare of being stuck, Ijeoma describes a night when she has to remind her nightmare-addled mother that “Papa is dead. Do you forget?” (27). Adaora cries in her arms.
Okparanta’s novel begins with the 1967-1970 Nigerian Civil War, also called the Biafran War, during which Biafra (an organization of the Igbo people) attempted unsuccessfully to secede from the Nigerian Northerners. Ijeoma describes the conflict as Nigeria “making a skeleton out of Biafra” (8).
The narrative structure of the novel moves between the chronological timeline following Ijeoma’s coming-of-age story, flashbacks to the past, and digression that explore cultural contexts. In this section, several flashbacks take place before the death of Ijeoma’s father. Later, the novel explains the rite of the Igbo ikwa ozu ceremony, which is a way for the dead to take their place among the ancestors. This rite can last multiple days; Uzo’s ikwa ozu only lasts a day after a week-long wake.
Ijeoma’s narrative style uses several literary devices, relying more on lyricism than scenes with extensive action or dialogue. Her descriptions use many metaphors and similes. To evoke how she longs for God to save her father, Ijeoma compiles a list of comparisons that connect faith and emotion: “He would [...] soak up my prayer the way that a sponge soaks up water, the way that a drunkard soaks up his booze, the way that clothes soak up rainwater, the way blotting paper soaks up ink” (14). Likewise, the power of naming is akin to a tangible, kinetic act: “if names could be folded and held that way” (21). Another sentence-level device is a misheard homophone. When the children are being taught about a coup, or mutiny, Ijeoma mistakes the word for a coop that contains “chickens” (17).
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