Love’s connotation to fire is a common constant in both literature and in daily spoken word. Society dubbs passionate and intense love “fiery,” while particularly dedicated couples are considered twin flames. However, love can “burn” if one is not careful. In Purple Hibiscus, the main character Kambili’s trauma caused by her father’s physical abuse limits her initial perception of healthy love. Adichie uses the contrasting parenting styles of Eugene and Ifeoma, along with the symbol of fire, to indicate how domestic violence can negatively impact a child’s development.
Adichie’s metaphor of Eugene’s violence as fire warps Kambili’s perception of healthy love, often leaving her helpless in his physically abusive household. Kambili feels most
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As her mother informs Ifeoma of their abusive living situation, Ifeoma proclaims that “when a house is on fire, [one should] run out before the roof collapses” (Adichie 213). In this instance, fire’s true meaning is physical abuse. Ifeoma teaches Kambili to reject her father’s love, as even if she believes there are good intentions, it nevertheless burns and hurts her. Ifeoma’s parenting style empowers Kambili to find the strength to escape abuse, and prioritize self-preservation. Because Ifeoma serves as Kambili’s first example of what healthy love looks like, she inevitably feels abandoned and frightened when Ifeoma must leave for America. In her sleep, Kambili “[tosses] around so often that [she] woke [her cousin Amaka] up…[Kambili] let her hold and soothe [her] like a little child” (Adichie 282). Adichie once again portrays Kambili as younger than reality, but in this case, she feels the physical intimacy instead of the beatings present when she lives with her father. This indicates how Ifeoma’s household becomes a refuge and safe space for Kambili, especially considering that this moment contrasts how initially she feared opening up to Amaka. She feels so comfortable in this environment that she allows Amaka to hold her, when the only physical interactions she had before …show more content…
While she stays with Ifeoma, Kambili realizes that she doesn’t remember her hope to “never open [her] eyes again, that fire once dwelled in [her body]” (Adichie 233). This implies a level of suicidal ideation present in Kambili’s psyche when she is actively being abused, but since fades with time away from Eugene. Her father’s abuse was to such an extreme extent that she wished for death, which is strikingly profound considering her age and sheltered lifestyle. Following the metaphor that fire in Purple Hibiscus represents physical abuse, Kambili may have continued this cycle of abuse involuntarily if she continued living with Eugene. She seemingly does not want to become an abuser but notes that she may not have a choice, as it “dwells” inside her like a birthright. However, Ifeoma’s kindness and acceptance has extinguished the “fire” in Kambili’s body. Thus, Adichie makes the statement that freedom can both improve the quality of life and prevent future domestic
The book “Forged by Fire” by Sharon M. Draper is a book with many themes and lessons we all can learn. One of the themes that this essay will talk about will be about loyalty. For one thing, loyalty is a strong feeling because it’s something that comes from inside of a person to have faith in someone. Also the fact that we’re all loyal to someone, someone who’s special in our lives and plays a major role in our lives that drags us to support them no matter what. In this book, Gerald gets abused by his drunk, ferocious father whom he absolutely abominates.
With no regular school to attend and no home to spend time in, it’s no mystery that I should have been drawn to these two kind and generous women”. Wakatsuki’s explanation shows the importance of this section because it shows how people find their own interests when they are not being controlled and it also shows that people often rely on religion to help them when they are in desperate situations. Finally, Wakatsuki tells the readers the reaction she and her family show when Papa returns to them after ten months. When Papa returns, he looks a lot older and he has a cane. The authors use reflection to show the distinction between her father before and after being imprisoned.
The characters perceptions of the meaning of love differ vastly, leading them to lose sight of love’s meaning or purpose.
Mariatu loses all innocence at the point in the story where Mariatu realizes that she has been raped by Salieu and she will now have a baby at around the age of thirteen years old, while having no hands to support herself, her family, and her child. Mariatu one time almost gives up and exclaims, “I have no future (Kamara 73; line 8)” Mariatu repeats this phrase after she attempts suicide, when Abibatu stops her. At a young age of thirteen years old, depression shouldn’t be occurring among Mariatu, but do to all the trauma she has experienced lately, she lost all of her childhood innocence and is suffering from it. This theme shows us how terrible the outcomes are when people lose their
Noah's memoir also explores the various forms that love can take, from the love between mother and son, to the love between friends and romantic partners. Through his experiences growing up in a society that was defined by racial division and inequality, Noah demonstrates the transformative power of love in the face of
This silent voice “stands opposite the blackness and yet it does not oppose the blackness, for conflict is not part of its nature” (473). Consequently, the silent voice allows the narrator’s consciousness to realize that she does not have to choose between cultures, but can be a mix of both. Through this silent voice, the narrator rids her consciousness of despair and hatred and moves forward solely in love.
While living with her, Jay finds out that his aunt, Tita Chato, had taken Jun under her roof for a year after he ran away from his home. He witnesses the heartbreak that Tita Chato and her wife experience having to watch Jun leave them too, his reason being that he was done, “‘Pretending,’ Tita Chato provides. ‘To be our son, I think.’ She closes her eyes like the words are physically painful” (Ribay 170). Jun had not only left Tita Chato’s home, but also her care.
He explains his guilt that “burns like acid in [his] veins” as the leftover feelings from his childhood remain “as though [he] were still concealing the family shame” (744). This descriptive language showcases how deeply and painfully this trauma has been within in as he has made his own life for himself. He saves this for the end of his essay so that he does not pull too much of the audience’s sympathy from other people who made need it “more.” He introduces the topic of physical violence by writing that “[his] own father never beat [them]” (740)—a curious phrase as he goes on to say that the image was so vivid in his mind that it felt tangible and real. There is an emphasis on the absence of physical violence, but also an admittance of how the threat of such can be just as painful and imprint such images on the brain for years to come.
Gene's profound affection for Finny becomes both a haven of comfort and a breeding ground for internal turmoil, as envy and resentment permeate their relationship. Through this examination, Knowles unveils the profound impact that love can have on life, shaping identities and influencing choices made. Through Gene's admiration for Finny and the homoerotic undertones of their relationship, it’s apparent how love can be both a source of comfort and a source of conflict. By exploring the complexities of love with allegories, Knowles offers a nuanced portrayal of the human experience and the challenges faced as emotions are navigated. Knowles' exploration of love in A Separate Peace offers insights into the human condition.
There are many examples in life of two people who are close having their relationship challenged due to a lover coming between them. This was on display throughout the book, Like Water for Chocolate. Though Tita is caring and protective of her sister, she also becomes scared of loneliness and jealous of her sister’s marriage to Pedro. Like Water for Chocolate, by Laura Esquivel, follows the story of Tita, the youngest daughter in a family who cannot marry and must care for her mother and nephew due to family tradition. In the novel, several characters represent the “lover” archetype which creates a rivalry between Tita and her sister Rosaura, who becomes the “jealous wife”.
Characters from the novel come from different family backgrounds, but they all struggle with issues related to their families. This theme is still relatable today, as many people around the world are struggling with issues in their family such as divorce, abuse and being neglected. The book shows how important it is to have a supportive family, but also how it’s possible to find support and love from
Her encounter with Arobin, a figure who represents passion and sensuality, stirs within Edna a profound awakening to her own desires. However, this newfound desire clashes with the obligations she has toward her family and society. “The Awakening” quotes “It was the first kiss of her life to which her nature had really responded. It was a flaming torch that kindled desire.” This quote encapsulates the transformative power of a single moment for the protagonist, Edna.
The readers see a breakthrough for Kambili when she says to Amaka; "You don't have to shout Amaka, I said finally. I don't know how to do the orah leaves but you can show me"(170). At the time Kambili didn't even realize what she was saying or doing. She was in shock that she was able to talk back without a stutter or a cough. From this point forward Amaka respected Kambili more and they were able to form a lasting friendship.
longer followed by feelings of guilt that papa’s moralistic Christian worldview provoked in her earlier. Even though his teenage romance does not end happily from kambili’s viewpoint, her relationship with father Amadi is a strongly empowering one: not only does it allow her to find her sexual identity, but it also allows her to find a more tolerant and liberal interpretation, of religiousness and, above all, the courage of questioning. Later, father Amadi, with his tender and supportive attitude, becomes a new masculine authority for kambili, who believes that “his word is true” (302). Kambili’s admiration of father Amadi signals yet again her desperate need for a father figure. While the focus is Purple Hibiscus is admittedly the national, the transnational dimension represents an important narrative bypath.
The connections between characters on television often fail to emulate the actual compassion and warmth of true love, conveying an idea that love can be created superficially. Society must recognize that unless one feels a strong, deep, and meaningful bond that has been created over a long period of time, the connection that one may initially feel with another person may only go as far as lust. In the end, the eyes tell nothing of love. Love can only be found in the