Purple Hibiscus is a novel in three parts, a very common and standard thing with regard to form and execution. It is a story of adolescence and a trouble family, a story where a father’s religious zeal and hypocrisy. It’s a story about abuse and familial schism. None of these things are especially uncommon, but this story is set in postcolonial Nigeria and depicts an Igbo family defined by their father’s abusive imitations and worship of all things European. This is, needless to say, a hard break from the kind of “novel of ideas” that are so often the first things that come to mind when one hears of this narrative arc.
Chimamanda Ngozi Adichie’s novel isn’t worth reading on account of its novelty –Purple Hibiscus is objectively well-written and possess one of the most engaging narratives I’ve encountered since the thematically pulpy but equally prose-driven The Twelve trilogy. The further into this book you get, the more invested you become. That’s almost always the goal of good novel-length fiction, but it’s hard to pull of as completely as Adichie has here.
A bit of time has passed between my reading of this novel and my writing of this reading log, as I try to do. The neurological digestion of Adichie’s characters and narratives, her prose and her ideas, has produced nothing but further positive descriptions. The novel is a bit slow to start, but that’s all a part of the things’s intrinsic pacing, and only adds to my appreciation. This is a fantastic book, and I intend to seek out more of Adichie’s writing as soon as I can -check out her Amazon Single “We Should All Be Feminists” for a quick and easy-reading essay on her own experiences with the label.