Synopses & Reviews
With her award-winning debut novel, Purple Hibiscus, Chimamanda Ngozi Adichie was heralded by the Washington Post Book World
as the “21st century daughter” of Chinua Achebe. Now, in her masterly, haunting new novel, she recreates a seminal moment in modern African history: Biafras impassioned struggle to establish an independent republic in Nigeria during the 1960s.
With the effortless grace of a natural storyteller, Adichie weaves together the lives of five characters caught up in the extraordinary tumult of the decade. Fifteen-year-old Ugwu is houseboy to Odenigbo, a university professor who sends him to school, and in whose living room Ugwu hears voices full of revolutionary zeal. Odenigbos beautiful mistress, Olanna, a sociology teacher, is running away from her parents world of wealth and excess; Kainene, her urbane twin, is taking over their fathers business; and Kainenes English lover, Richard, forms a bridge between their two worlds. As we follow these intertwined lives through a military coup, the Biafran secession and the subsequent war, Adichie brilliantly evokes the promise, and intimately, the devastating disappointments that marked this time and place.
Epic, ambitious and triumphantly realized, Half of a Yellow Sun is a more powerful, dramatic and intensely emotional picture of modern Africa than any we have had before.
From the Hardcover edition.
About the Author
Chimamanda Ngozi Adichie was born in Nigeria. Purple Hibiscus
won the Commonwealth Writers Prize for Best First Book and the Hurston/Wright Legacy award. It was also shortlisted for the Orange Prize and the John Llewellyn Rhys Prize. Her short fiction has appeared in Granta
and the Iowa Review
, among other literary journals, and she received an O. Henry Prize in 2003. She is a 2005/2006 Hodder fellow at Princeton University and divides her time between the U.S. and Nigeria.
From the Hardcover edition.
Reading Group Guide
1. Ugwu is only thirteen when he begins working as a houseboy for Odenigbo, but he is one of the most intelligent and observant characters in the novel. How well does Ugwu manage the transition from village life to the intellectual and privileged world of his employers? How does his presence throughout affect the readers experience of the story?
2. About her attraction to Odenigbo, Olanna thinks, “The intensity had not abated after two years, nor had her awe at his self-assured eccentricities and his fierce moralities” [p. 36]. What is attractive about Odenigbo? How does Adichie poke fun at certain aspects of his character? How does the war change him?
3. Adichie touches very lightly on a connection between the Holocaust and the Biafran situation [p. 62]; why does she not stress this parallel more strongly? Why are the Igbo massacred by the Hausa? What tribal resentments and rivalries are expressed in the Nigerian-Biafran war? In what ways does the novel make clear that these rivalries have been intensified by British interference?
4. Consider the conversation between Olanna and Kainene on pp. 130-131. What are the sources of the distance and distrust between the two sisters, and how is the rift finally overcome? What is the effect of the disappearance of Kainene on the ending of the story?
5. Discuss the ways in which Adichie reveals the differences in social class among her characters. What are the different cultural assumptions—about themselves and others—made by educated Africans like Odenigbo, nouveau riche Africans like Olannas parents, uneducated Africans like Odenigbos mother, and British expatriates like Richards ex-girlfriend Susan?
6. Excerpts from a book called The World Was Silent When We Died appear on pp. 103, 146, 195, 256, 296, 324, 470, and 541. Who is writing this book? What does it tell us? Why is it inserted into the story in parts?
7. Adichie breaks the chronological sequence of her story so that she can delay the revelation that Baby is not Olannas child and that Olanna had a brief liaison with Richard. What are the effects of this delay, and of these revelations, on your reading experience?
8. Susan Grenville-Pitts is a stereotype of the colonial occupier with her assertion that “Its quite extraordinaryÉ how these people cant control their hatred of each other. . . . Civilization teaches you control” [p. 194]. Richard, on the other hand, wants to be African, learns to speak Igbo, and says “we” when he speaks of Biafra. What sort of person is Richard? How do you explain his desires?
9. Adichie makes a point of displaying Olannas middle-class frame of mind: she is disgusted at the cockroach eggs in her cousins house reluctant to let Baby mix with village children because they have lice, and so on. How is her privileged outlook changed by the war?
10. The poet Okeoma, in praise of the new Biafra, wrote, “If the sun refuses to rise, we will make it rise” [p. 219]. Does Adichie seem to represent the Biafran secession as a doomed exercise in political na•vet? or as a desperate bid for survival on the part of a besieged ethnic group? Given the history of Nigeria and Britains support during the war, is the defeat of Biafra a foregone conclusion?
11. The sisters relationship is damaged further when Olanna seduces Richard [p. 293]. Why does Olanna do this? If she is taking revenge upon Odenigbo for his infidelity, why does she choose Richard? What does Kainene mean when she bitterly calls Olanna “the good one” [p. 318]?
12. How does being witnesses to violent death change people in the story—Olanna, Kainene, Odenigbo, Ugwu? How does Adichie handle descriptions of scenes of violence, death, and famine?
13. What goes through Ugwus mind as he participates in the rape of the bar girl [p. 457]? How does he feel about it later, when he learns that his sister was also gang-raped [pp. 497, 526]?
14. The novel is structured in part around two love stories, between Olanna and Odenigbo and between Kainene and Richard. It is “really a story of love,” Adichie has said (Financial Times, September 9, 2006). How does Adichie handle romantic and sexual love? Why are these love plots so important to a novel about a war?
15. The story begins as Ugwus aunty describes to Ugwu his new employer: “Master was a little crazy; he had spent too many years reading books overseas, talked to himself in his office, did not always return greetings, and had too much hair” [p. 3]. It ends with Ugwus dedication of his book: “For Master, my good man” [p. 541]. Consider how Ugwus relation to his master has changed throughout the course of the story.
16. How is it fitting that Ugwu, and not Richard, should be the one who writes the story of the war and his people?
17. In a recent interview Adichie said, “My family tells me that I must be old. This is a book I had to write because its my way of looking at this history that defines me and making sense of it.” (She recently turned twenty-nine, and based parts of the story on her familys experiences during that time and also on a great deal of reading.) “I didnt want to just write about events,” Adichie said. “I wanted to put a human face on them” (The New York Times, September 23, 2006). Why is it remarkable that a woman so young could write a novel of this scope and depth?