Abstract
Although the social construction of the human hair varies from culture to culture, the symbolic function of hair varies from person to person. In Adichie’s Americanah, the characters are primarily defined by their hair before the construction of their race, career and personality. The human hair becomes the premise for brotherhood and sisterhood in. Many episodes take place in the salon, thereafter a person’s hair is qualified as either good or bad. The theoretical framework for this paper is New Historicism which interrogates social life and power relations among people in the society. In this work we conclude that Adichie tells the story of human hair not for its sake but to portray the problem of immigrants, religious fanaticism, disruption of academic calendar and the frustration therein, loveless marriage, the environment and other human conditions. Finally, the hair shows that every person is a complete human being first and foremost
Highlights
Chimamanda Ngozi Adichie calls herself a story-teller in TED Conference
Realism is writing about domestic life of ordinary and middle-class people. Beginning with her first novel Purple Hibiscus, the story is told of a fastidious father whose religious fanaticism attracts hatred from his only son and wife and his eventual death, by installmental tea poisoning (Anusiem –Dick, 98-99)
In Purple Hibiscus, the dominant hair style is cornrow which Kambili wears to school
Summary
Chimamanda Ngozi Adichie calls herself a story-teller in TED Conference. Like Achebe she tells stories from all perspectives. The opening expression in Purple Hibiscus is an obvious allusion to Things Fall Apart (Purple Hibiscus, 11) She tells stories about every conceivable human condition having been inspired by Achebe’s Arrow of God. realism is writing about domestic life of ordinary and middle-class people. Let us begin with the beauty treatise of Ifemelu’s mother in Lagos, Nigeria: Ifemelu had grown up in the shadow of her mother’s hair It was back-black, so thick it drank two containers of relaxer at the salon, so full it took hours under the hooded dryer, and, when released from pink plastic rollers, sprang free and full, flowing down her back like a celebration. Ifemelu’s mother distorted her personality by cutting her long hair when she found salvation in one of the new churches in their neighbourhood and began to dress like the congregation Her essence takes flight before her ten year old daughter [43]. One of the been-to, and editor of Zoe Press wears boring hairstyles (sister locks) to the resentment of her costaff [402]
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