55 pages • 1 hour read
Chinelo OkparantaA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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The novel jumps a few years ahead to 1970, when Ijeoma joins her mother in Aba and begins her lessons. These lessons will eventually turn out to be an attempt to Biblically cure her lesbianism. Adaora fetched Ijeoma from Nnewi to cast out a “demon” (59).
Earlier, when Ijeoma was a housegirl for the grammar school teacher, Adaora built a new life in Aba. When she first got there, her parents’ bungalow was a ruin and contained a corpse. Neighbors recognized her, and helped her fix up the bungalow and build her shop. The long reconstruction process is Adaora’s justification for not reuniting with Ijeoma sooner.
The narrative returns to Ijeoma’s first week in Aba; during this time, Adaora avoids her. When their second week together begins, Adaora tells Ijeoma in the kitchen that they will start “cleansing her soul” (65).
At the kitchen table, Adaora has Ijeoma read the Bible alongside her. The first 15-minute lesson begins with Genesis and the story of Adam and Eve. Passages are included both in Igbo and English, and Adaora focuses on the heteronormative pairing. Adaora insists Ijeoma wear a black prayer scarf to show her “true penitence” (67).
The next morning, Adaora expresses regret for not retrieving Ijeoma sooner because it might have prevented her from becoming something that has yet to be named in the narrative. They hug after Adaora’s repeated apology, but Ijeoma feels a distance.
On her way to the market for okra, Ijeoma stops in Aba’s church and feels guilty for unnamed acts with a girl named Amina. However, she can’t pray alone in the pew.
That night, Adaora reads the Bible aloud and prays for Ijeoma to be protected from “the demons” and “the devil” (72) while Ijeoma is distracted by thoughts of Amina.
Adaora compares the “behavior” of Ijeoma and “that girl” to that of the people in Sodom and Gomorrah (73). Reading the paraphrased Bible story about these sexually sinful cities, Ijeoma questions why Lot giving up his daughters to the Sodomites makes him a good man. Adaora replies that by sacrificing his daughters to be raped, Lot was protecting his guests from gay male sex. Adaora refuses Ijeoma’s alternate interpretations of the story.
In the parlor, the Bible lessons continue with Leviticus. Adaora has to define “abomination” (75) for Ijeoma, and emphasizes the importance of procreation. Ijeoma questions if heterosexual couples who can’t conceive—like the teacher and his wife—are also abominations, and Adaora replies that they are, according to the Bible.
Adaora also rejects Ijeoma’s act because it was with a Hausa girl—and the Hausas killed Uzo in the war. Ijeoma peeks at her mother’s Biblical bookmarks for her moral benefit.
Ijeoma recalls Uzo telling her folktales and explaining allegories before the war. In the present, her mother had arrived at her bookmarked passage in the Book of Judges, Chapter 19—the story of the Levite and the damsel, another instance where a young woman is offered up for rape to spare a man from rape. After reading the paraphrased text, Adaora asks how it applies to Ijeoma’s situation.
Ijeoma answers that men offering their daughters to be raped shows that they are cowards, and doesn’t know what this has to do with her. Adaora believes the lesson is that it’s better to have nonconsensual heteronormative sex than nonconsensual gay sex.
Ijeoma compares this to the story of Lot, and argues that Biblical stories are allegories. However, she isn’t sure her mother knows what an allegory is, and doesn’t have the courage to ask.
One night, consumed with theological concerns, Ijeoma wonders about Biblical allegories, symbols, and whether Adam and Eve might have had unrecorded lesbian contemporaries. Briefly she considers arguing with her mother, but decides against it.
After a lesson on the book of Malachi, Adaora asks Ijeoma if she still thinks about Amina “in that way” (85). Ijeoma truthfully answers that she does, and her mother forces her to kneel and screams at her to pray, but Ijeoma can’t. While Ijeoma’s eyes are closed, Adaora leaves.
When Adaora returns, she prays over Ijeoma, trying to exorcise the “devil” (88) of Ijeoma’s sexuality. Adaora blames herself for leaving Ijeoma with the teacher, but believes God will save her daughter.
Six months of Bible study pass before Ijeoma is supposed to start secondary school. Adaora puts a list of bookmarked Bible passages from Leviticus, Mark, Romans, Corinthians, Timothy, Jude, and Revelation on posterboard and reads it aloud.
At the end of these lessons, Ijeoma feels exhausted. By now, she has learned to lie to her mother. When Adaora asks again if she still has feelings for Amina, Ijeoma shakes her head.
A key example of Okparanta’s many emotionally evocative similes is Adaora’s retelling of her early days in Aba. She paints a picture “like a Hollywood drama, or maybe a James Bond film” (60). This comparison raises the question of whether Adaora’s account is completely truthful, since the overly dramatic tends to be exaggeration. However, Adaora’s version of events is eventually cast as a truthful and dramatic retelling.
We learn about Ijeoma’s forced penitence before we know the nature of her sin. This framing places her mother’s reaction before Ijeoma’s lived experience, and it prioritizes the religious mores that are the only lens through which gay and lesbian lives can be seen in the highly Christian Igbo community.
The two physical Bibles in Ijeoma’s world are loaded with significance. Adaora’s Igbo language Bible with her marginalia in both English and Igbo (76) is a symbol of her mother’s attempt to fundamentally change her daughter. Adaora’s efforts to pray Ijeoma’s lesbianism away are so intensive that Ijeoma starts measuring time by how far through the Bible they have read together. Adaora reads the Bible aloud, drawing upon oral traditions, and Okparanta includes long passages from the Bible, mostly in English, but also in Igbo.
The Bible Ijeoma inherits from her father, which travels to and from Nnewi with her, is a reminder of her father’s lessons not to take the words of the Bible literally—they are allegories, and “an allegory is a symbol” (78). Because of what he taught her, Ijeoma can employ literary analysis, seeing layers of meaning in what she reads, unlike Adaora.