Chimamanda Ngozi Adichie’s novel ‘Purple Hibiscus’ explores the tumultuous relationships between the members of the Achike family, inflicted by the father, Eugene. The novel is narrated in the first person, by the fifteen-year-old protagonist Kambili. This essay will portray the significance of ‘body writing’ which will be depicted through Eugene and Aunty Ifeoma. The entire family are subjects to domestic violence, in which the father justifies through the practice of strict Catholicism. The idea of dualism, where the mind and body are considered to be separate entities is the reason why the tyrant abuses his family, to ultimately rid their flesh of temptations and sin. The violence Eugene juxtaposes the military takeover in the public sphere of colonial and postcolonial Nigeria, which ultimately leads to his downfall. In contrast to Eugene, his sister Ifeoma, who is widowed, is an independent and modern working woman who refuses to succumb to generational patriarchy. She is depicted as a strong female and defies her brother’s authority, in which she is able to merge Catholicism with the Igbo culture.
Apart from Eugene’s authoritative behaviour in the family home, he would always act in a similar way at church. He would always want to be at the centre of attention and the one in first position, almost fighting for the attention of God. He does this as an act of proving that he is more faithful and ultimately to show the congregation that he is the better Catholic. He wanted to be recognized by Father Benedict. Eugene would even kneel at the altar, offering himself to the “blonde life-size Virgin Mary” (Adichie, 2004:4). Eugene would “hold his eyes shut” and he also “stick his tongue” out as far out as he could, displaying a grotesque display of attention, almost in a way trying to prove his loyalty and obedience to the Lord (Adichie, 2004: 4). Eugene was groomed by Father Benedict to abandon his Igbo culture and turn to Catholicism, which is ironic because it juxtaposes the influence of the colonial reign in Nigeria. In which Eugene’s grotesque display in church is a direct influence of what was taught to him. The body language of Eugene, like the way he kneels to the blonde statue of Virgin Mary contrasts the colonial takeover in Nigeria by the white colonialists. The way he would shut his eyes and stick out his tongue emphasizes his adherence to Christ. And his willingness to put his body through pain and sacrifice for the forgiveness of sin of himself and his family, shows he determination and obedience not only to God, but the teachings of Father Benedict. Eugene tells Kambili a story after he burns the soles of her feet and her brothers with boiling water for living under the same roof with his “unconverted father” when they went to live with their aunty Ifeoma (Cooper, 2008: 111). He explains that once he had “committed a sin’ against his very ‘own body’”, in which he was caught masturbating (Adichie, 2004: 196). Just as his body was subjected to abuse by the father in charge, he believes that by burning his children’s feet he will stop them from committing sins caused by the body. This emphasises Eugene’s view of the body being a separate entity to that of the mind. This links to the idea of body writing as Eugene’s grotesque body language is described negatively alluding to the post-colonial discourse, which is portrayed through the military takeover in Nigeria. Also, the idea of the dual body, in which the mind and the body should not be joint but separate in order to function is the reason why the family is subject to the tyrant’s abusive behaviour.
Father Benedict’s role as the priest of the church, gave him an honorary title that is bestowed upon a chosen person to lead the congregation into glory of the Lord. Yet, Father Benedict wanted to be seen and a God-like figure, rather than to teach the ways of Christ. Similar to that of his prodigy Eugene, he was at an authoritative position in which he “brainwashed Papa” to believe that being Catholic was associated with being not only closer to God. Yet Father Benedict gave Eugene the impression that he was superior and therefore made him look down upon wife and children, especially his father who kept his faith in the Igbo culture (Cooper, 2008: 119). Father Benedict would even refer to a hierarchy order of church of Christ which included the pope, Eugene and Jesus being last, instead of first, which shows his disregard for even God, because he is of the opinion that he is above everyone else. Father Benedict controls his congregation by prohibiting the use of Igbo and implementing Latin. He restricted “hand clapping” and when he did allow some songs in Igbo, he would refer to them as “native songs”, which further implies his dislike towards the native Nigerians as well as their culture and traditions (Adichie, 2004: 4). Father Benedict disregards the Igbo culture by stopping them from embracing their culture, by making them sing in a foreign language and restrict body movement, which is a part of the Igbo culture in which they praise dance. This is a direct link to the juxtaposition to the way in which the white colonisers took over Nigeria and prohibited the native people from practising their culture, because the colonisers saw the black Nigerians as uncivilised and uncouth. They implemented Westernised practices and lifestyles, just as how Father Benedict controls the congregation and Eugene.
Aunty Ifeoma in contrast to Eugene, is caring, affectionate and jovial. And apart from the personalities of the siblings, there is significant contrast between the two homes. In Eugene’s home there is strict routine, discipline and predictability, whereas in Aunty Ifeoma’s home, there is always spontaneous conversations, laughter, dancing and freedom to speak. Ifeoma displays a motherly affection and bond with her children that seem foreign to Eugene. Aunty Ifeoma is described as being “as tall as Papa” and the way in which she walked like someone who knew “where she was going and what she was going to do there” (Adichie, 2004: 71). Even when she hugged Kambili, she did so “tightly” and pressed her against her soft body (Adichie, 2004: 71). Even though Eugene and Aunty Ifeoma have similar body structure, in terms of height, she is described as a confident woman who walks with purpose. This indicates that Aunt Ifeoma’s authority should not be shadowed by the fact that she is a woman, because she has the ability to do anything, regardless of being female. Aunty Ifeoma displays a modern picture of feminine strength accompanied with love, which is the love and strength Eugene lacks. This also contrasts the idea that women are seen as weak and inferior to men, according to Eugene’s views on women being nothing child bearers and housewives, rather than modern working women. Aunty Ifeoma’s character also embraces both the Catholic religion and Igbo culture, intertwining them instead of choosing the one that is to be taught to be more superior. She attempts to “integrate the spirituality” of their father Papa Nnukwu into their Catholicism (Cooper, 2008: 119). Unlike Eugene who even rejects their father for still practicing the Igbo culture. The influence of the colonists pushed Eugene further away from his culture, making he believe that Catholicism was more superior and righteous. And this is a direct juxtaposition to the colonial takeover of Nigeria and their reign on its people.
Adichie represents a postcolonial society, which is still indirectly under the control of the new military. This ultimately juxtaposes the character of Papa Eugene, who asserts his authority and dominance over his family causing privatised domestic violence in his home, because of the teachings and influence of Father Benedict, which is similar to the abuse Nigerians had to endure during the reign of the colonialists. Adichie also depicts ‘body writing’ through the contrasting relationship between Papa Eugene and Aunty Ifeoma. As Aunty Ifeoma has a positive authoritative role in her family, centred around love and growth, which she also combines her belief in Catholicism with her culture of Igbo and practices the two in harmony with each other. Whereas Papa’s authoritative role and strict focus on Catholicism hinders the growth development of his family, ultimately leading to his downfall.
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Body Writing’ in Chimamanda Adichie’s ‘Purple Hibiscus’.
(2022, September 01). Edubirdie. Retrieved November 24, 2024, from https://edubirdie.com/examples/depicting-of-body-writing-in-chimamanda-ngozi-adichies-novel-purple-hibiscus/
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2022 Sept 01 [cited 2024 Nov 24].
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