Chimamanda Adichie’s Violet Hibiscus and Chinua Achebe’s Things Break apart both highlight the complexities of father-son relationships. The main theme of parental conflict can be developed over the course of both texts and serves to illustrate the impact of Traditional western imperialism on Igbo traditions. While Adichie openly appreciates that she was motivated by Achebe, a closer go through the nuanced variations between the two novels lights up Adichie’s very own voice. Okonkwo, the misogynistic character with a masculinity complicated, is a man still scarred by his father’s pathetic reputation in Things Fall Apart. His dad’s ill reputation and deficiency of titles inspire Okonkwo to pursue a much better life so that they can dissociate himself from his father. Alternatively, Eugene, the antagonist and father figure in Purple Hibiscus, ostracizes his father on the basis of religious disagreement. Adichie uses the differences between Eugene’s and Okonkwo’s protector conflicts to comment on all of the changes that American colonialism has had about in Nigeria.
Even though Achebe’s and Adichie’s works of realistic fictional works share various similarities, the issues for and methods in which Eugene and Okonkwo respond to paternal conflict differ, thus allowing Adichie to show the move from Igbo to European-influenced Nigerian lifestyle. The enmity between Okonkwo and his father, Unoka, is definitely founded on the unadulterated requirements of Igbo culture. More specifically, the instability is the result of Unoka’s deficiency of determination and wealth: “When Unoka passed away he had considered no title at all and he was intensely in debt. Any wonder after that that his son Okonkwo was embarrassed with him? ” (pg. 8). Unoka’s inability in being a notable affiliate within Umuofia is what provides Okonkwo the drive to strive for success. The standards present in Umuofia haven’t yet recently been impacted by Western european colonialism, and, as such, offer insight to the “original” beliefs of Igbo tradition. As a result, Adichie is able to use these kinds of standards being a foundation to create her very own father-son energetic by representing the relationship among Eugene and Papa Nnukwu through a distinct lens. When Okonkwo’s contemporary society in Umuofia underscores the importance of game titles and position, Eugene’s more sophisticated society in Enugu categorizes Catholic guidelines, those which were derived from colonialism. The discord between Eugene and Papa Nnukwu is due to a fundamental big difference in religious ideology. Eugene, who is Catholic, instills in the children the idea that participating in or even noticing any Igbo tradition can be described as sin. This kind of belief constitutes a stable relationship with his father impossible, and leads to the estrangement of Papa Nnukwu in Eugene’s life. Eugene credits his prosperous life not to the guidance of his dad but to the missionary institution he joined as a child: “I didn’t possess a father who sent me to the best universities. My father put in his period worshipping gods of wooden and stone. I would be nothing today but for the priests and sisters with the mission” (p. 47). He believes that Papa Nnukwu, who procedures Igbo customs, is a heathen and should go as far as to severely limit Jaja’s and Kambili’s relationships with him. Papa Nnukwu never wronged Eugene, actually it was Papillas Nnukwu’s decision to send Eugene to the missionary school. Yet , after being indoctrinated right into a set of stringent beliefs barring him via coming in contact with a nonbeliever, Eugene distances himself and his family from his father. Papa Nnukwu is catagorized short of Eugene’s standards and is also consequently shunned. The transition of Nigerian society is evident not only in Eugene’s preference for the white prelado, Father Benedict, over the Nigerian pastor, Father Amadi, yet also in Eugenes fabricated British accentuate when talking with Father Benedict.
Many ways in which every character responds to parent conflict are dissimilar. Okonkwo espouses a couple of ideals that are entirely reverse to those of Unoka in an attempt to differentiate himself from his father’s undesirable legacy. Umuofia does not evaluate an individual on his or her ancestors, alternatively, judgment is usually predicated for the actions individuals. Umuofia’s leniency allows Okonkwo to follow a better life, and he ultimately achieves his goal: “Although Okonkwo was still young, he was previously one of the greatest guys of his time. Era was highly regarded among his people, yet achievement was revered. Because the parents said, when a child laundered his hands he may eat with kings. Okonkwo had obviously washed his hands so he had with kings and elders” (pg. 8). Through determination and perseverance, Okonkwo has the capacity to establish him self as one of the “greatest men of his period. ” His character is different completely from that of Unoka, Unoka was cowardly, sluggish and of small build. In comparison, Okonkwo was the greatest wrestler in all 9 villages, steadfast in his work ethics, and respected through the community. Okonkwo is said to obtain “washed his hands” suggestive of the fact that this individual has dissociated himself in the bad name of his father and has become a revered member of Umuofia. The have difficulties that Okonkwo faces entails an external a single, in that it can be largely societal pressure which motivates Okonkwo.
Adichie alters the underlying factors behind conflict seen in Things Break apart in her depiction of Eugene and Papa Nnukwu to demonstrate the loss of cultural id as a result of imperialism. The division between Eugene and Papillas Nnukwu is known as a paradigm for the cultural clash occurring on a much larger scale within just Nigeria. When Eugene procedures Catholicism, an item of Christian expansionism in Africa, Sopas Nnukwu techniques the older Igbo tradition. Adichie contrasts Igbo custom with European tradition through the entire text to symbolize the transformation of postcolonial Nigerian culture. Eugene’s forthright disapproval of Igbo custom is all-pervasive throughout the text, to the magnitude that this individual urges his family to refrain from speaking in Igbo: “He [Eugene] hardly spoke Igbo, and although Jaja and I spoke it with Mama in the home, he did not like all of us to speak this in public. We had to appear civilized in public areas, he informed us, there were to speak English” (pg. 16). Eugene’s make an attempt to inculcate in his children the notion that British is the “civilized” language is definitely indicative with the deep-seated imperialist influence in Nigeria plus the degree that Eugene has internalized it. Adichie uses Eugene’s relationship with his dad as a means to help develop the notion of an ideological conflict between generations resulting from colonialist affect.
The differences in Adichie’s and Achebe’s portrayals of father-son turmoil exemplify Adichie’s own manifestation of the associated with European affect on Nigerian society. Whilst both Eugene and Okonkwo have shaky bonds using their fathers, the core of each feud may differ. While Okonkwo’s relationship is affected by the standards of unblemished Igbo tradition, Eugene’s marriage with his dad is affected by the standards of postcolonial Nigerian society. Simply by shifting the context and nature of Eugene and Papa Nnukwu’s relationship, Adichie essentially maintains the novel where Achebe had halted. Given that Purple Hibiscus takes place after Things Fall Apart, Adichie uses enough time gap to convey the cultural change. The heightened significance of Catholicism that Adichie describes symbolizes the impact of colonialism on Nigerian and furthermore Igbo culture, the contention between “white man’s” and “black man’s” ideology. On a bigger scale, Adichie subtly displays the convergence of local Nigerian tradition and imperialistic European culture and shows the switch in religious ideology because of this, doing so through the microcosm of father-son relationships.
