The monster under our bed, the boogeyman in our closet, or the tough bully at school that everyone runs away from out of fear; the psychological terrors experienced at a young age, whether we realize it early or not, shape and define our mental progression. Kambili's abusive father forbids her from rebelling, and as a result, for much of her life she limits herself and what she believes she can and cannot do. Speaking, at least for Kambili, remains a privilege granted only to those who don't worry about disappointing those they rely on. Around his insecurity flows a sea of ​​cultural influences, good and bad; some help Kambili find her path and others hold back her ability to become a young woman. In Chimamanda Ngozi Adichie's Purple Hibiscus, the cultural characteristics of modern Nigeria play a role in the development of the central character, Kambili, and help define social norms and interactions, as well as revealing how external pressures impact Kambili's mental growth. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Some might say that the end result of cultural stress, individualistic expression, makes difficult times worth the pain and suffering caused, and in the novel Purple Hibiscus this remains a key concept. When Kambili and Jaja visit Aunt Ifeoma, they discover a family full of opinions, a stark difference from the quiet and often reserved state of their home much of the time. Indeed, Kambili's comfort within the situation could initially be characterized as unstable and awkward, but as she spent more time with her extended family she realized that "talking seemed to define everything they did" (Hewett 10 ). On the contrary, under Eugene's stern hand and demanding fist, speaking openly and expressing one's opinions was not enough. For this reason Kambili, (accustomed to a family built around the concept of silence), took advantage of opportunities to show off individually and uniquely while at Auntie Ifeoma's house. At one point Kambili and Amaka argue over a yam and for the first time in her life Kambili stands up for herself. Of course, one could infer that the pent-up anger after years of abuse led her to finally explode, and also thanks to the mini meltdown that Kambili experienced, she grew up. This development actually acted as a catalyst for Kambili's future character growth, as the discussion ended up encouraging her to take a stand in other areas of her life. From this you might see that there is indeed a connection between the expression of individualism and oppression. After this happened, Kambili developed a sense of self more quickly, and in a way, her father's violence also pushed her along the journey to discover the person buried deep inside her. For example, Kambili has a crush on Father Amadi and soon falls in love with him. The very fact that she felt brave enough to do so speaks volumes about the level of personal and character growth she has experienced in such a short time. “Father Amadi brings up past anxieties and fears for people like Father Benedict and Eugene,” as she represents a movement away from old colonial ways towards seemingly sinful tendencies. The last thing her father, Eugene, would want is for these two to get together in a relationship, and Kambili, who usually plays the role of the obedient and studious daughter, simply doesn't care. While struggling in life doesn't guarantee that you will become a better person, know what adversity feels likehelps you make better and stronger choices for your future. Let's take Kambili again, for example: at one point she could never have considered doing anything that would taint her father's image, but in the end, even though her love for dad hasn't faded, she has developed a more real view of his situation and refused to experience victimization at the hands of his father again. Issues of domestic violence within a postcolonial Nigeria remain a topic explored by third-generation Nigerian novelists, simply because of the scale of mistreatment in their society today (Ojaide 45). Adichie hasn't broken the chain, and her portrayal of Kambili is striking in a similar way to molding an object from clay: first rough and shapeless, but quick to take shape and dry. The battle between Catholicism and paganism has played a strong and central role within the world. Kambili and Jaja's family life, and at times the harsh feelings Eugene had regarding the matter threatened to end their family and often threatened their lives. British colonization of Nigeria left more than just physical scars; the entire landscape was ravaged by emotional discourse, for even with the removal of British power, many Nigerians did not agree on what the predominant culture should be. Most upper-class individuals, like Eugene, sided with Catholicism and generally avoided traditional pagan practices altogether. Adichie mirrored this large-scale national conflict with the contrast and dichotomy between Aunt Ifeoma and Eugene; Aunt Ifeoma, with her carefree spirit and easy manners, reflects the passions of Nigerians who want to unleash the influence that European Catholicism holds on Nigerian culture, while Eugene, with his bold and severe nature, reflects the ideas and ideals of the elite who desperately want to maintain Catholicism to maintain some semblance of authority and power over their communities. This divide can also be seen when socio-economic factors and the differences between these two characters are examined, as typically the wealthy strongly supported British Catholicism, while the poor typically directed their support towards traditional Igbo ways. As Hron points out, “Adichie uses Eugene's fascination with Western society to point the finger at the British mimicry that continues to define a major part of Nigerian society” (31). Whether or not Eugene's reason for choosing to uphold the past stemmed from past horrors or a righteous and general greed for wealth, he conveyed a sort of obsession with making sure his life appeared pristine and pristine. Eugene even copies the punishments of white priests who burned him for doing something sinful, choosing to scald and burn his children's hands and feet when they disobeyed him or did something wrong. The very fact that he could do something like this to his own children highlights the fact that for most people in this society, choosing a religious or political belief did not involve a personal decision, but only a decision that led to one's own prosperity. The surrounding political context of Nigeria parallels the conflict within Eugene's "perfect" family, as violence due to conflicting beliefs occurs in both contexts (Dawes 84). The contrast between Nsukka and Kambili's hometown also serves the purpose of identifying cultural tensions, as the two areas both represent two different states of mind currently residing in Nigeria. Nsukka remains a place with cultural and social aspectscompounds: This place was home to Aunt Ifeoma and her family, as most of the people who lived here were poor and strongly opposed to the rich who want to stick to strict British customs. Catholicism in this space remains negotiated into a freer role by religious innovators, such as Father Amadi, who downplay the practices of religion and tend to focus more on the importance of living morally and truly; this obviously infuriates those in Kambili's hometown. Meanwhile, in Enugu, Kambili's home, Eugene and his mindless, drone-like followers preach about the evil of returning to the old ways, as they believe that doing so will desecrate their society and the roles they currently fill. This mentality obviously ruins the relationship that many families, like Eugene and Aunt Ifeoma, once possessed. These two once lived in the same house, knew the same parents and shared a life together, yet this internal war of beliefs going on in Nigeria did not seem to struggle in an attempt to separate them, and in the end the war won. Aunt Ifeoma and Eugene were as devastated as ever, and their opinions on the matter did not ease in their fervor. Furthermore, this internal war also caused chaos within Kambili's home, as when she began to distance herself from all of Dad's teachings, Dad became more violent and an even larger chasm began to form, separating her even more from her father . As the war devastated her family life, Kambili's decision to define herself by the true characteristics of Nigerian culture suddenly became an even bolder choice. Ultimately Kambili did not let Catholicism bury her true personality, instead choosing to let the best characteristics of both Catholicism and paganism shine through her. Coming of age in the midst of internal cultural conflicts remains difficult, but it could be rewarding if you choose to make intelligent, impartial decisions. The advent of body language in helping the public understand the importance of common mannerisms within a culture remains truly relevant, and in Kambili's story we can see the importance of body language reflected in her understanding of life . As a result of their limited living environment, Kambili and her brother Jaja have developed a wordless way to communicate through eye contact. The silence inside their home often represented an impenetrable wall, and so these small gestures usually conveyed the only way they could 'say' what they really thought about certain things. This phenomenon, however, is not lost in the real world, as young children, isolated from society and subjected to emotional and psychological abuse, tend to choose other ways to communicate with the world at large. Even people with autism (in cases where the individual experiences sensory overload), decide to talk to others in a way that does not involve speaking. Kambili leaves behind her addiction to communicating without speaking and gradually becomes more comfortable speaking to herself, something that surely developed while she and her brother Jaja visited their aunt Ifeoma. The actual language that Kambili or Adichie's voice uses in the novel adds further emphasis to the growth that Kambili achieves, as her language and word choice seem to mature along with her. Kambili's childish, sophomoric language ingeniously betrays the criticism she feels for her father; for example, when Kambili described Eugene's piety during communion in a childish manner. The boyish comic descriptions downplay his father's seriousness, but at the same time his cruelty andmeticulousness remains emphasized and very definitive. Furthermore, Adichie constantly analyzes the opposing dichotomies by bringing attention to the different points of view (Kambili's different points of view before and after her maturation), and the child's perspective is paired with that of the young adult's point of view of public. Kambili is obviously confused, as she idolizes her father, even though he beats her; this may be related to her childhood dependence on him. Eugene not only provides Kambili with a home, but he literally determines her life and future, and represents a kind of god to her: Kambili even mentions at one point that she refused to compare him to anyone because doing so dirtied him. . Returning to the importance of language, however, upon arrival in Nsukka, Kambili can best be characterized as childish or incapable of speech. He appears to be physically unable to allow words to leave the recesses of his mouth, and this silence could be compared to the silence of his father's followers and congregation. Kambili also possesses the ability to detect, with the simple tremor of her eyes, whether or not he will attack her or her brother. His ability to determine the outcome of such situations can be compared to having a certain influence on his growth in Aunt Ifeoma's house; ironically, however, Eugene's story remains one of accelerated deterioration. Eugene's openness and comfort in his home obviously remains expressed in a brazen and violent manner, showing that he hides from the people who usually look up to him. These individuals do not question the decisions and statements made by Eugene – or omelora, as they call him – and consequently represent that part of society that remains reluctant to communicate or take a stand. Even if numerous crises occur, there will remain a group of individuals who do not want to rise up against their oppressors. As long as this group continues to persist within societies, movements to make the world a better place will remain stagnant, and Adichie combats this phenomenon in her novel. Adichie portrays the concept of not speaking as a negative, which she does by giving the silent nature of Kambili's family a dark connotation. Adichie hopes to encourage the courage of young voices around the world who remain shrouded behind oppressive figures and forces. In life, many factors such as love, obsessive behaviors, and violence affect the way we become and the future decisions we as individuals make. For Kambili, in particular, the abuse has left her mentally and physically stunted. She developed habits of distrust, and in a way the abuse from her father Eugene also lowered her self-esteem, as even the mere concept of choosing which university she would attend seemed to scare her unnecessarily. However, despite all the damage done to Kambili by her horrible father, the trip to Nsukka and the visit with her aunt Ifeoma had a positive influence on her life and led Kambili to find an outlet for her desperation. Once Kambili recognized her grandfather, Papa Nnukwu, the situation changed and she suddenly began to be more accepting of other people and cultures outside the walls of her compound. Listening to Papa Nnukwu's story helps her understand different practices and values, and the importance of expanding her world, beyond the small enclosure of Enugu.Kambili, in the process of discovering these universal truths, transformed from a nature characterized by shyness to a nature characterized with audacity and a newfound confidence. Additionally, Kambili's infatuation with Father Amadi has given Kambili the tools to grow. As soon as she came to Aunt Ifeoma and saw Father Amadi, Kambili fell in lovehead over heels about him and his personality. Indeed, everyone in Aunty Ifeoma's house was aware of the love Father Amadi had for her and the fact that she meant the absolute world to him. The aspect of love, in this case, was somewhat parallel to that of a powerful drug for Kambili; love blinded her to the criticisms her father usually made of her and allowed her to finally deeply accept someone for who they were. This just goes to show that perhaps love plays an important role in our development and maturation; Most of us love ourselves, not in a selfish way, but when we find someone we can love just as we love ourselves, our ability to treat others with respect and our confidence explodes. The role of Father Amadi remains justified as a rather complex character, and plays a more dynamic role than simply helping her gain confidence; he also possessed some ties to his father. Eugene relied on a blanket of silence to keep his violence from leaking out, and Father Amadi challenges him, transforming himself into Kambili's champion. The fact that Father Amadi supported paganism by singing songs in Eugene's church made him very angry, and the incident shows that when one's safe or familiar territory is threatened, we as people tend to react. As the story remains focused on Kambili's growth and her father's deterioration, we can clearly see the contrast that Adichie sought to express here, as she highlighted the unraveling of Eugene's increasingly erratic behavior and spiral out of his sanity. Father Amadi also represents a kind of Nigerian gothic love as Kambili's father would never approve of it, and thus Father Amadi remains destined to experience separation from Kambili (Mabura 217). Doomed from the start, the relationship between Father Amadi and Kambili served to dull Kambili's emotional feelings; her entire life her father did not love her, and now she gained the ability to spend time with a strong male figure who cared for her the way she had always wanted her father to. Kambili at this point understood what the actual role of a man should be in her life: a kind, caring and compassionate individual. Within the Nigerian upper class family ties tend to be looser, in contrast to the stronger ties that hold some of the poorer families together. Adichie's use of their love story highlighted the usually hidden tragedy of abandonment in Nigerian families. The tragic end of the brief love story may tug at the audience's hearts, but the legacy of their love and the places emotional growth has taken Kambili may be considered well worth the heartbreak. Eugene's obsessive behavior led Kambili to understand the importance of taking advantage of better situations. For much of her childhood Kambili experienced bullying from a man who did not understand that he inhabited the human form of evil. To understand how and why the abuse helped her, in a way, one must first grasp Eugene's paradox. Eugene can clearly be seen as a wealthy Catholic factory owner, a philanthropist who gives to the needy so frequently that he earns the prestigious title of omelora. In addition to this Eugene also controls the newspaper, and subsequently the information spread to the masses, and somewhere along the way Eugene wins a human rights award for his political activism. Once he returns to his humble abode, a monster emerges and the change in comfort level causes a change in his behavior. Eugene, in a sense, can be compared to a wolfwerewolf, who charismatically charms villagers and townspeople during the day and mercilessly kills young, innocent lambs at night. This type of behavior, given by Adichie, belies a certain social madness and emotional uncertainty that torments his brain. Kambili, subjected to this behavior since birth, would not only be desensitized to such horrific attributes, but would unconsciously shy away from situations that might lead her down a dark path. When forced to battle terrible wrongs, humans move forward, learning from the situations. The concept remains simple: once that stove has burned your little, innocent hand, you will never trust another burning stove again. The concept and aspect of guilt plays with our inner conscience, playing with our comfort level and, ultimately, blinding us until the truth disappears. it stays in our field of vision longer. Jaja taking the blame for Eugene's death has helped Kambili solidify why she should take care of her family, even though due to her extreme guilt (Jaja feels like he should be responsible for the child's abuse father), Jaja will never truly understand the meaning of what he has done (Mabura 220). The final sacrifice, Jaja personified Eugene's last ditch effort to destroy and conquer, as even in his death he felt the need to ruin someone else's life; even upon his death the father can be violent. It could be argued that Eugene's ability to move forward and continue his reign of terror on Kambili, Beatrice, and Jaja can be attributed to the fact that he never felt guilty about the harsh and unreasonable things he did to them. The wife in Nigerian culture remains a disempowered person – generally – and can usually be characterized by society at large as a person of servitude towards her husband. Kambili's mother, Beatrice, embodies the kind of maternal figure who represents the issues of femininity that Kambili will one day face. Beatrice, in this way, can be seen as the ghost or shadow of what Kambili might experience in the future at the hands of an abusive partner if she does not grow a spine and change. Eugene's constant physical and emotional abuse of Beatrice, while it can be seen as the simple act of him taking advantage of his wife and her body, the abuse goes beyond that. Their abusive relationship reveals a fear of sexuality in Eugene, and as a result he strives to isolate her femininity and role within society by controlling every aspect of their marriage (Mabura 219). Thus, the end of the novel, where Beatrice finally gets her comeuppance and poisons Eugene's tea, remains a way she used to reclaim all the power and dignity that her husband spent almost his entire life trying to take away from her. Adichie, a writer, did not randomly choose to create a female protagonist, or to center much of her story on domestic violence and issues surrounding such terrors. Nigeria, although freed from the shackles of British colonialism, still experiences issues of equality not only across social classes, but Adichie has chosen to combat these patriarchal tendencies and as a result has created work focused on the empowerment of women in many areas. Kambili, until she matures, remains a shy little girl, impatient to communicate and desperately afraid of disappointing the male figures in her life. Dad, Father Amadi and Jaja; all three of these men hold some sort of power, authority and/or control over Kambili's life, yet gradually her dependence on the emotions and words spoken by.