Name: Edom Wijaya Samori and Dion Erlangga Davidson

Class: Studies on Prose

Nim: 22019035

Prose Novel analysis “The girl with the louding voice” by Abi Dare

(Chapter 1-4)

Chapter 1

In the opening chapter of the novel, several literary elements are at play, most notably situational irony,
character development, and the setting, which all combine to provide a vivid depiction of the challenges
faced by the protagonist, Adunni, and her family. Through these elements, the author emphasizes the
harsh socio-economic realities of rural life in Nigeria and the difficult decisions that arise from poverty.

One of the most striking elements is irony, particularly situational irony, which appears in the way
Adunni’s father addresses serious issues with a casual attitude and misplaced priorities. The father's
primary concern is not his daughter’s well-being but the family's financial crisis. Instead of seeking a
productive solution to pay the rent, he arranges for his daughter to marry an older man, Morufu, who
already has several wives. This decision is tragically ironic because while Adunni dreams of getting an
education and building a future for herself, her father trades her future for financial security.

"The rent moneys is... among your owo-ori." (Page 3, paragraph 4).

In this line, the father plainly states that the money he expects from her marriage will go towards paying
the rent, indicating how little he values her aspirations.

"You will be marrying Morufu next week." (Page 3, paragraph 6).

This shocking declaration highlights the father’s skewed priorities, showing that he cares more about
resolving the immediate financial pressure than protecting his daughter’s future. The reader expects a
father to be a protector, especially in times of hardship, yet here the father chooses financial gain over his
daughter's well-being.
The father, referred to as Papa, emerges as a negligent and irresponsible character, whose actions are
driven by self-interest rather than the welfare of his children. His reliance on alcohol and careless nature
are defining traits that paint him as an absent figure in Adunni’s life. He is more interested in his personal
comfort and the bottle that has "become his wife" since the death of Adunni’s mother. His indifference to
his daughter's fate and his failure to acknowledge her emotional and physical needs reveal his
inadequacies as a father.

"Papa like to be sitting in front of the fan in the evening, crossing his feet at his ankles and drinking
from the bottle that have become his wife since Mama have dead." (Page 2, paragraph 2)

This line underscores his neglect and highlights his detachment from family responsibilities. Similarly,
when asked about a lost remote control, his response reveals his passive and indifferent nature.

"Papa, the remote-controlling is missing." (Page 1, paragraph 4)

This shows how disconnected Papa is from the real issues at hand, further illustrating his negligent
parenting.

On the other hand, Adunni, the protagonist, is portrayed as a young girl with dreams that are stifled by
the socio-economic conditions in which she lives. Despite her youth, she has aspirations of becoming a
teacher, living independently, and driving her own car. Her inner world contrasts sharply with the
oppressive reality that surrounds her. The moment she realizes her father’s plan to marry her off, her
frustration and desperation become palpable. Adunni yearns for education and freedom, but her
circumstances trap her in a life she cannot control.

"I am wanting to go back to school and learn teacher work and become a adult woman and have moneys
to be driving car and living in fine house..."

This statement reflects her deep desire for a future that feels increasingly out of reach as she faces the
reality of her arranged marriage.

The setting of the novel plays an essential role in reinforcing the story's themes. Set in a rural Nigerian
village, the socio-economic struggles faced by the family are evident through the description of their
living conditions. The lack of basic amenities, such as a working television, and the desperate measures
they must take to make ends meet, such as marrying off their daughter, reflect the larger societal and
economic challenges of the environment. The broken television, found in a dustbin, symbolizes the
family's struggle to maintain basic comforts in a world of scarcity.

"We have a tee-vee in our parlor; it didn't work. Born-boy, our first born, he find the tee-vee inside
dustbin two years back when he was working a job as dustbin collector officer in the next village."

This reflects the harsh reality of the family’s economic situation, emphasizing how survival often takes
precedence over personal happiness or ambition. Moreover, the mention of the thirty thousand naira bride
price further emphasizes the role of economic desperation in driving cultural practices.

"Thirty thousand naira is very plenty moneys... We must find another place to live."

This line reveals the financial burden the family faces and why Papa considers the marriage a necessary
solution.

In conclusion, Chapter 1 introduces several key elements that define the story’s tone and direction. The
use of irony highlights the tragic choices made by a father who prioritizes money over his daughter's
happiness. The characterization of Papa as negligent and Adunni as a hopeful but oppressed figure paints
a vivid picture of their strained relationship. Finally, the setting underscores the socio-economic
challenges that force individuals into making difficult, and often tragic, decisions. Through these
elements, the author sets the stage for a narrative rich in emotional depth and social commentary.

Chaper 2

In Chapter 2 of the novel, the author continues to weave a rich tapestry of emotional complexity through
the use of irony, character development, and setting. These elements deepen our understanding of
Adunni's predicament, as she grapples with the emotional fallout of her mother’s death and her father’s
betrayal. The interplay of these devices paints a poignant picture of a young girl whose dreams are
suffocated by societal expectations and economic desperation.

Irony serves as a powerful tool to expose the broken promises and contradictions in Adunni’s life. A key
instance of irony arises from the father’s promise to Adunni’s mother. On her deathbed, the mother seeks
reassurance that Adunni will not be forced into marriage but will instead attend school. The father agrees,
giving his dying wife a promise of hope and security for their daughter. However, after the mother’s
death, this promise is quickly abandoned, and Adunni is married off to an older man, Morufu, for
financial reasons. This act of betrayal deepens the emotional tension of the narrative, as Adunni’s dreams
of education and freedom are shattered by her father’s decision.

"You promise Mama on her dying bed. You say you will be sending me to school."

This line underscores the heartbreaking irony of a father who once vowed to protect his daughter’s future
but now sacrifices her happiness for money. The contrast between his earlier promise and his current
actions highlights the tragic loss of trust and the disillusionment Adunni feels.

Another form of irony in this chapter is more symbolic, embodied by the fireflies. In Adunni’s village,
fireflies are traditionally seen as messengers of prosperity or good fortune. Yet, despite their presence, no
wealth or prosperity comes to Adunni’s family. Instead, they remain in poverty, struggling to survive.

"The fireflies are bringing the message of moneys, but there is no moneys coming to us."

This reflects the larger theme of unfulfilled promises in Adunni’s life. Just as the fireflies fail to deliver
on their symbolic meaning, the promises made to Adunni fail to materialize, leaving her trapped in a
world of unmet expectations.

The characters in this chapter are shaped by the weight of grief, loss, and societal pressures. Adunni, the
protagonist, continues to be a focal point of the narrative as she struggles to reconcile her desires with the
harsh realities around her. Her grief over her mother’s death is compounded by the confusion and betrayal
she feels as her father arranges her marriage. Adunni’s internal conflict—her desire for education and
independence versus her duty to obey her father—reflects the larger struggle of young girls in her village
who have no control over their futures.

"Why Papa not be sending me to school? Why is he selling me to a man with two wives?"

This line captures Adunni’s sense of injustice and her desperation to understand why her life has taken
such a painful turn. Her character is a complex mix of sorrow, confusion, and an underlying strength that
emerges when she must protect her younger brother, Kayus.

Kayus, though a minor character, plays an important role in showing Adunni’s resilience. Despite her
own suffering, she finds the strength to care for him, demonstrating her protective instincts and emotional
depth. Her love for Kayus offers her moments of solace in an otherwise bleak existence.
Papa, on the other hand, is portrayed as a weak and desperate man who prioritizes financial survival over
his daughter’s well-being. His decision to marry Adunni off is motivated by the crushing economic
hardships the family faces. His character reflects the difficult choices that many parents in poverty must
make, often at the expense of their children’s happiness.

"Papa say that if I marry Morufu, he will be giving him thirty thousand naira."

This line starkly reveals Papa’s priorities—money has become more important than his promise to his
wife or his daughter’s future. His actions highlight the grim reality of poverty, where survival often
trumps morality or emotional bonds.

The setting of the novel is crucial in shaping the characters' experiences and emotions. The rural village
where Adunni lives is marked by poverty, traditional customs, and communal values. The description of
the night, with its red moon and the presence of fireflies, creates an eerie and oppressive atmosphere that
mirrors Adunni’s internal turmoil.

"The moon is looking red tonight, like the eye of Mama when she was angry."

This imagery reinforces the tension and grief that Adunni feels as she contemplates her future. The
natural surroundings seem to reflect her emotional state, intensifying the sense of foreboding and
inevitability in her life.

The customs and traditions of the village also play a significant role in dictating the characters' actions,
particularly in relation to marriage. In this society, the bride price is an important cultural practice, and
marrying off daughters for financial gain is a common way to alleviate economic hardship. This tradition
traps Adunni, as her value is reduced to the thirty thousand naira her father will receive for her marriage.

"In our village, when somebody is sick, we bring them food and help them with work."

This line reflects the communal nature of village life, where survival is a collective effort. Yet, despite the
close-knit community, individuals like Adunni are still bound by the rigid expectations and economic
limitations imposed by their circumstances.

In conclusion, Chapter 2 further explores the central themes of the novel through the use of irony,
character development, and setting. The irony of broken promises and unfulfilled hopes deepens the
emotional complexity of the narrative, while the characters of Adunni, Papa, and Kayus are shaped by
grief, desperation, and societal pressures. The setting of the rural village underscores the harsh realities of
poverty and tradition, creating a powerful backdrop for Adunni’s struggle to break free from the
constraints of her life. Through these elements, the novel continues to paint a vivid picture of a young
girl’s fight for agency in a world that offers her little control.
Chapter 3

One prominent literary device used is foreshadowing, which warns of the dire consequences of defying
societal norms, particularly for girls like Adunni. In the story, Asabi, a girl from Adunni's village,
attempts to escape an arranged marriage but is punished harshly by the community. This event
foreshadows what may happen if Adunni tries to resist her own forced marriage.

"Asabi... They catch Asabi in front of the border and beat her sore... They hang the poor boy like a
fowl in the village square... The village chief say they must lock Asabi in a room for one hundred
and three days until she is learning to sit in her husband's house and not running away."

The setting of the novel plays a crucial role in highlighting social issues such as gender inequality,
poverty, and the lack of access to education. In Adunni’s village, women are often viewed as inferior,
their roles confined to household duties and childbearing. This is evident in the way her father dismisses
her desire for education.

“Papa say, ‘You don’t need to go to school at all. No need. Just stay at home and be doing the
housework, be preparing your body, your womb, so that it will be ready for the man that will
marry you.’”

This statement underscores the deeply entrenched gender roles in the village, where a girl’s future is
decided by male figures, stripping her of autonomy.

"The man that pay your bride price, that man be your owner. You be his property."

This quote illustrates how, in the village, marriage reduces women to property, perpetuating a system of
patriarchy that denies them freedom.

The theme of poverty is also intricately tied to the setting, influencing many of the characters’ decisions.
Adunni’s family is poor, and this economic hardship forces her father to sell her into marriage,
prioritizing survival over her dreams of education.

“We have no money, no food, and no hope.”

This quote reflects the despair that poverty creates, limiting opportunities and trapping families in cycles
of deprivation.

"Papa was right when he say that even if you are the finest girl in the village, if your family is poor,
nobody will see your beauty."
This statement highlights how poverty erases individuality and potential, reducing girls to commodities in
marriage transactions
Education, or rather the lack of access to education, is a critical theme in the novel. Adunni’s village
undervalues the education of girls, seeing them only as future wives and mothers.

“A girl-child is not important in this place, because in this village, we are only good for housework
and making children.”

This quote emphasizes the societal belief that education is unnecessary for girls, a belief that serves as a
major barrier to progress. Adunni’s desire to learn, however, remains strong, symbolizing her hope for a
different life.

"All I want is to have a louding voice. I want to go to school, I want to learn so I can help myself
and other girls."

Adunni’s wish for a “louding voice” symbolizes her yearning for education and empowerment, though
her village offers little support for such ambitions.

The novel’s central conflict revolves around Adunni’s internal struggle against being forced into a
marriage she does not want. Her opposition to this marriage represents not just a personal conflict, but a
larger societal clash between individual desires and cultural expectations.

"I don't want to marry Morufu," I say. "Please beg Papa for me."

This inner turmoil is mirrored in the novel’s suspense, as Adunni contemplates whether she should
confront her father, submit to the marriage, or attempt an escape. The reader is left in anticipation of her
next move, especially after learning about Asabi’s fate.

"Run, Adunni," Kayus say, wiping his tears, his eyes wide and full of a fearing hope. "Run far and
hide yourself."

Irony is another key literary device in the novel, especially when examining the promises made to Adunni
regarding marriage. Her father believes that marrying her off will ensure her safety and security, yet the
reality is quite the opposite. Instead of finding protection, she endures exploitation and suffering.

“Papa say that even though my husband is an old man, that man will be looking after me like I am
a queen. But look at me now, only two months after marriage, no different from a slave.”
This statement reveals the tragic irony of Adunni’s situation, where a marriage meant to safeguard her
future becomes the source of her oppression.

Similarly, there is an irony in education. Despite society’s belief that girls do not need education, it is
precisely the lack of it that perpetuates Adunni’s suffering.

“They say education is the key to success, but here I am, with no education, no success, and no
hope. I keep thinking, maybe if I had the education, my life would be different.”

This quote highlights the contrast between society’s dismissal of education and the reality that education
could have empowered Adunni to escape her situation.

Adunni’s dream of having a “louding voice” is also filled with irony. Though she longs for the ability to
speak out for herself and others, her voice is continuously silenced by those in power.

"I want to have a louding voice. But for now, my voice is like a whisper. It is there, but nobody is
hearing it."

Lastly, the irony of wealth is evident in characters like Big Madam, who, despite having material wealth,
is trapped in her own misery.

“She has all the money in the world, but look at her, so full of sadness and bitterness. Money does
not buy happiness.”

This shows that even those who appear to have everything are not necessarily happy, suggesting that
wealth cannot solve deeper emotional and personal struggles.

In conclusion, "The Girl with the Louding Voice" is rich with literary devices that enhance its exploration
of complex themes such as gender inequality, poverty, and the transformative power of education.
Through foreshadowing, setting, conflict, suspense, and irony, the novel paints a vivid picture of the
struggles faced by women in rural Nigeria, while also highlighting the resilience and strength it takes to
fight for one's voice in a world that seeks to silence it.
Chapter 4

"When Mama return and I tell her Mr. Ade from the Abroad of the UK come and see her, she
shock. 'Mr. Ade?' she keep asking as if she deaf. 'Mr. Ade?'"

Mama’s strong reaction to the mention of Mr. Ade hints at a significant past relationship that will later be
revealed. Her shock suggests that Mr. Ade's visit is tied to unresolved issues or deep emotions.

"In this village, if you go to school, no one will be forcing you to marry any man. But if you didn't
go to school, they will marry you to any man once you are reaching fifteen years old."

The setting highlights social issues related to gender roles and education. Adunni's desire to go to school
contrasts with the traditional expectation for girls to marry young, reflecting societal pressure and limited
opportunities for women in the village.

"I want a louding voice. 'Papa?' He is sitting in the sofa, keeping his eyes on the tee-vee, looking the
gray glass face of it as if it will magic and on itself so that he can be watching the elections news."

The irony here is that while Adunni seeks to gain a "louding voice" through education and empowerment,
her father, who embodies traditional authority, is absorbed in passive entertainment (watching TV) and
dismisses her ambitions.

"I don't want to marry Morufu... If I marry Morufu, that means you are throwing all my futures
inside the dustbin."

The primary conflict is Adunni’s struggle against her father’s decision to marry her off to Morufu. This
personal conflict represents a broader struggle against societal norms that limit women's choices and
opportunities.

"When Morufu come the next morning, and Papa call me to come and be thanking him for the fowl
and he-goats, I am not giving them answer."

The suspense builds as Adunni’s reaction to Morufu’s arrival is unknown. Her refusal to acknowledge
Morufu and her lie about being sick create tension about how she will confront or escape the situation she
finds herself in.
Chapter 5

“As I am watching Born-boy now, small part of me is wishing he will fall inside the well so that the
wedding will cancel."

This quote suggests that Adunni does not want the wedding to happen, foreshadowing her deep
dissatisfaction with the marriage and possible future conflict. Her desperate thoughts hint at possible
future attempts to escape or avoid the marriage.

"Morufu will not help me to finish school... And if I am not going to school, then how will I be
finding a job and having money? How will I have a louding voice?"

- Analysis: The setting illustrates the social issue of limited educational opportunities for women in the
village. Adunni expresses her desire to attend school and gain independence, but societal expectations
push her toward marriage instead. Her marriage to Morufu, a man with two wives and four children,
highlights the problem of polygamy and child marriage in the community.

"You are having luck to be marrying! Be thanking God for this good thing and stop all this
nonsense crying."

The irony in this quote comes from the fact that Enitan sees the marriage as a "good thing" and a stroke of
luck, while Adunni feels trapped and unhappy. What is considered a blessing by others is a source of
sorrow and dread for Adunni, highlighting the disconnect between societal norms and her personal
desires.

"Morufu is a rich man," Enitan say with a sigh... "He will be taking care of you and your family.
What more are you finding in this life when you have a good husband?"

The conflict here is both internal and external. Adunni is torn between her desire for education and
independence and the external pressure from her community and family to marry a wealthy man. Her
struggle to balance her dreams with her societal obligations drives much of the tension in the passage.

"I spit the cloth from my mouth, sniff up my nose... and then I pour a bowl of cold water into the
bucket before I cover it with a cloth
This scene builds suspense because Adunni is preparing for the wedding, an event she dreads. The reader
is left wondering how she will cope with this unwanted marriage, or if something might happen to
prevent it. Her thoughts of wanting Born-boy to fall into the well add to the tension, as it shows her
desperation and foreshadows potential future rebellion.

Conclusion:
This chapter paints a picture of a young girl torn between tradition and her desire for self-determination.
The conflict and social issues surrounding marriage, education, and gender expectations are central to the
narrative, while irony and suspense enhance the emotional weight of Adunni’s struggle.

Chapter 6

In this narrative, the author masterfully weaves various literary elements that heighten the reader's
emotional engagement and provide deeper insight into the protagonist's harrowing journey. These
elements—foreshadowing, setting, irony, conflict, and suspense—work together to underscore the grim
reality the protagonist faces, particularly in relation to her dreams and societal expectations.

From the outset, the story is laden with clues that the protagonist’s future will be fraught with challenges,
especially regarding her marriage. A pivotal moment of foreshadowing occurs when the protagonist
reflects on her shattered dreams of education:

"My eyes was just watching myself, watching as the picture of schooling that I put on top a table in
my heart was falling to the floor and scattering into small, small pieces."

This moment suggests that her aspirations for independence through education are crumbling, hinting at
the bleak and unfulfilling future she is likely to face. The metaphor of her dreams breaking into "small,
small pieces" paints a grim picture of the difficulties awaiting her, not only in her personal life but also in
her marriage.

The setting of the story, a rural community governed by traditional customs and patriarchal values, plays
a critical role in shaping the protagonist’s experiences. The social framework, where arranged marriages
and male dominance are the norm, is vividly captured in the father’s commanding words:

"This is your wife now, from today till forever, she is your own. Do her anyhow you want. Use her
till she is useless!"
This harsh statement underscores the lack of autonomy women face in such traditional societies. Women
are treated as possessions rather than individuals with their own desires and dreams. The father’s words
reflect the entrenched social issue of patriarchy, where women are subjugated and dehumanized, forced to
conform to the will of men without any recourse for their aspirations.

The use of irony is evident in the way the protagonist’s wedding day, which is typically seen as a joyful
occasion, is instead depicted as a sorrowful and hopeless event. This stark contrast is particularly
highlighted when Morufu, her husband, commands her to smile and act happy. The protagonist’s response
encapsulates the bitter irony of the situation:

"We are driving like two mad peoples, me showing my teeths, and him talking to hisself about how
he was paying thousands and thousands of naira for bride-price."

The forced smile and her husband’s obsession with the bride-price reveal the facade of happiness that
masks her inner turmoil and despair. What should be a moment of celebration instead becomes a painful
reminder of her lost freedom and autonomy, emphasizing the tragic irony of her situation.

The story brims with both internal and external conflicts that define the protagonist’s struggle. Internally,
she is torn between accepting her fate and her long-cherished dreams of education and independence.
Externally, she is thrust into a loveless marriage with Morufu and must contend with the hostility of her
husband’s other wives, particularly Labake. The tension is palpable when Labake confronts her:

"Husband snatcher, welcome-o... When I finish with you in this house, you will curse the day your
mother born you."

This statement encapsulates the external conflict she faces within her new household, where instead of
finding solidarity with other women, she is greeted with animosity and threats. The protagonist's internal
conflict is exacerbated by these external pressures, forcing her to reconcile her dreams with the harsh
reality of her life.

Suspense plays a crucial role in the story as the protagonist embarks on her uncertain journey into
marriage. The reader shares in her anxiety and fear as she leaves her family’s home and steps into the
unknown world of her husband’s household. Her apprehension builds as she meets Morufu’s first wife,
Labake, whose menacing words heighten the tension:

"When I finish with you in this house, you will curse the day your mother born you."
The suspense lies not only in the unknown future but also in the unpredictability of her new environment
and the hostility she faces. The protagonist’s uncertainty about what will happen next keeps both her and
the reader on edge, adding a sense of foreboding that permeates the narrative.

Chapter 7

Morufu's harsh treatment of Khadija and Labake, coupled with his obsession with having a male child,
suggests that Adunni will endure similar struggles. His disregard for his wives' feelings and his singular
focus on producing a male heir set the stage for the potential conflicts that await Adunni. Labake's
warning to Adunni about the difficult life ahead serves as a clear indicator of the trials that will follow.

“Labake stand up, tight her cloth around her waist, as if she is making proparlatbase for a fight.
‘You and my Kike are of the same age,’ she says... ‘God forbid for me to share my husband with
my own child. God forbid that I am waiting for you to finish with my husband before I can enter
his room. Ah, you will suffer in this house.’”

The setting of the story takes place in a traditional patriarchal society, where men like Morufu hold
significant power over women. This is evident in the way he treats his wives, who are valued only for
their ability to bear male children. Morufu sees women as tools for producing heirs, which highlights the
social issue of gender inequality. Adunni, forced into marriage at a young age, becomes a symbol of the
larger issue of child marriage and the lack of autonomy women experience in such societies. This reflects
the stark reality of many women who, like Adunni, are denied their basic rights and forced into roles they
did not choose.

“Girls are only good for marriage, cooking food, and bedroom work. I have already found Kike a
husband. I will use her bride-price to repair my car window, maybe buy more chickens for my
farm.”

Irony is a prominent device in the story, as seen in the stark contrast between Morufu's words and his
actions. He often speaks of wanting peace in his household, yet his behavior is the primary cause of
discord and tension among his wives. His treatment of Adunni is especially ironic. He refers to her as his
"sweet Adunni," praising her beauty and youth, yet he dehumanizes her by treating her as property rather
than as a partner. This contradiction underscores the gap between the romanticized idea of marriage and
the harsh reality of Morufu's oppressive control.

“I am getting old, I want peace... If you don’t give me peace, I will chase you out from my
compound.”
The central conflict in the story revolves around Adunni’s personal desires clashing with societal
expectations. Adunni dreams of a future filled with education and independence, but these dreams are
crushed when her father forces her into marriage with Morufu. She experiences an internal struggle, torn
between her fear and helplessness, and her longing for freedom. The external conflict is also evident in
the strained relationships between the women in Morufu’s household, particularly between Adunni and
Labake, who feels threatened by Adunni’s presence.

“I didn’t want to marry Morufu. My papa say I must marry him because he pays our community
rent.”

Suspense is woven throughout the story as the reader shares Adunni’s fear and uncertainty about what lies
ahead. Morufu’s dominance over his wives and his strict expectations create a tense atmosphere.
Adunni’s dread of being touched by Morufu and her anxiety about becoming his wife keep the reader on
edge. As the narrative progresses, the tension builds toward the inevitable moment when Adunni is forced
into a role she never wanted, leaving the reader anxiously awaiting her fate.

“I don’t want Morufu with his rag face to be touching me. I don’t want a husband. I only want my
mama.”

Chapter 8

The protagonist, a young woman facing her first night in a forced marriage, embodies naivety, fear, and
vulnerability. Her lack of experience with men is evident as she confesses,

"I never see any man naked."

This, along with her desperate longing for her deceased mother during this traumatic time, underscores
her emotional fragility. Her reluctance and fear of her new role as a wife reflect her inner turmoil and
inability to accept this abrupt transition into adulthood. She clings to her innocence, resisting the harsh
reality being forced upon her.

Morufu, her husband, emerges as an unsympathetic and domineering figure. His actions convey a sense
of entitlement, showing no regard for the protagonist's discomfort or fear. His consumption of

"Fire-Cracker Bitters,"

a questionable aphrodisiac, and his determination to consummate the marriage despite her clear
unwillingness reveal his abusive nature. Morufu’s character exemplifies a man who prioritizes his desires
over the well-being of his wives, further highlighting the toxic masculinity embedded in the patriarchal
structure.

Khadija, another wife in the household, serves as a mediator, trying to ease the protagonist into her new
life. However, Khadija herself is trapped within the same patriarchal system and appears resigned to her
fate. Her advice to the protagonist, particularly her comment about enduring pain during intercourse,
reflects the normalization of female suffering in their society. Khadija’s role represents the many women
who have learned to navigate this oppressive system and guide others through it, even if it means
perpetuating their own subjugation.

The setting reinforces the protagonist's dire circumstances. The kitchen, described with

"thin white comb"

fish bones, kerosene stoves, and a lack of a proper door, portrays a life steeped in poverty and
deprivation. This setting mirrors the protagonist’s own experience of neglect and limited agency,
grounding the story in a world of scarce resources where comfort and well-being are afterthoughts. The
husband’s room, on the other hand, is a manifestation of the protagonist’s worst fears. The smell of old
cigarette smoke, the creaking mattress, and the unwashed curtains create an oppressive atmosphere that
feels like a

"burial coffin."

This imagery underscores the protagonist's sense of entrapment and symbolizes the death of her
innocence and freedom.

Irony plays a significant role in the narrative. The protagonist’s forced entry into womanhood, marked by
her first night with Morufu, is described as a completion of her identity

"You are now complete woman"

However, the reality of this moment is anything but celebratory. It is violent, traumatic, and deeply
dehumanizing. Society’s expectation that this night is a significant milestone is sharply contrasted with
the protagonist’s experience of fear and pain, revealing the cruel irony of this "completion." Another
instance of irony is found in Khadija’s remark about the bathroom being available to use "anyhow they
want." This supposed freedom is quickly overshadowed by the fact that Morufu controls every aspect of
their lives, including being the first to use the bathroom and eat. The idea of Morufu as the "king in this
house" is equally ironic, as it glorifies his oppressive control, masking the harsh reality of domination
with a veneer of grandeur.

The use of symbolism deepens the narrative’s exploration of power and violation. The

"Fire-Cracker Bitters"
that Morufu consumes symbolize his need to assert dominance through forced sexuality, treating sex as a
mechanical act rather than a consensual experience. This aphrodisiac becomes a symbol of control, as
Morufu’s power over his wives extends to their bodies. The brief flash of light that enters the room during
the protagonist’s violation serves as a fleeting symbol of hope or intervention. The protagonist
momentarily believes it is her mother coming to rescue her, yet the light vanishes quickly, mirroring the
collapse of her hope and underscoring her helplessness.

The tone of the passage is dark and oppressive, steeped in fear and anxiety. The protagonist’s internal
dialogue and physical reactions, such as her vomiting and cold stiffness, communicate her terror. Every
description of Morufu’s actions, the oppressive atmosphere of the room, and the protagonist's physical
discomfort amplify the overwhelming sense of dread. This tone effectively mirrors the protagonist’s
powerlessness in the face of a system that devalues her autonomy and emotions.

Several themes emerge from this text, with patriarchy and control at the forefront. The narrative critiques
the patriarchal system that grants men control over women’s bodies and lives. Morufu, as the embodiment
of this patriarchal entitlement, dictates when the protagonist will become

"complete,"

reducing her existence to her ability to fulfill his desires. Her lack of agency is a reflection of the broader
issue of gender inequality that permeates the text.

Another significant theme is the violation of innocence. The protagonist’s lack of experience with men,
her yearning for her mother, and her internal resistance to the marriage emphasize her vulnerability. Her
innocence is violently disrupted by the events of the night, both emotionally and physically, marking a
loss that cannot be undone. This theme is deeply tied to the concept of entrapment, which is woven
through the physical and emotional landscapes of the story. The protagonist is trapped not only by the
physical setting the room that feels like a coffin but also by the societal expectations that dictate her fate.
She has no control over her life, bound by a system that views her as property rather than a person with
dreams and desires.

In conclusion, this passage vividly conveys the protagonist’s fear and the violence of her circumstances
through rich descriptions, symbolic elements, and stark irony. The dark, oppressive tone, combined with
the suffocating setting and manipulative characters, highlights the horrors faced by women in a
patriarchal society. The narrative critiques this system, exposing the deep injustices suffered by women
like the protagonist, whose voices and agency are silenced in favor of male dominance.
Chapter 9

In this passage, Adunni’s character continues to evolve as she grapples with the emotional and physical
trauma of her first night as Morufu’s wife. Her pain, expressed through phrases like

"my under is on fire" and "my body is smelling of a foul odor,"

reveals the extent of the violation she has endured. Despite her suffering, there is a glimmer of resistance
within her, shown in her fleeting thoughts of violence towards Morufu, imagining to "slice off his man-
areas." This internal rebellion starkly contrasts with her outward submission, indicating that while she
may feel powerless, her desire for control and justice remains alive. Adunni’s memories of her past,
particularly her mother and the carefree moments before her marriage, accentuate her sense of loss. The
nostalgia underscores the vast chasm between her past innocence and her present suffering, further
highlighting her entrapment.

Adunni’s internal dialogue, where she commands herself,

"Don't cry, Adunni,"

illustrates her effort to maintain strength in the face of overwhelming hardship. This self-assurance is a
way for her to assert her identity in an environment determined to erase her individuality.

Khadija, a more experienced wife, steps in as both a mentor and a victim. Offering practical advice like,
"Ibukun powder is good for pain,"

she tries to help Adunni cope with her suffering. However, Khadija’s own resignation to the same
abusive structure is evident when she recounts her first experience with Morufu’s violence:

"First time he used it for me, I died five times and wake up again."

Khadija embodies both the guide and the woman who has learned to endure the patriarchal oppression
surrounding them. She provides Adunni with comfort while also reflecting her own acceptance of a fate
that, for now, seems inevitable.

Even though Morufu is not physically present in this scene, his oppressive influence pervades Adunni’s
every thought and action. He is a representation of the male-dominated system that reduces women to
mere objects of sexual exploitation. His use of Fire-Cracker Bitters, an aphrodisiac, becomes a symbol of
his artificial, forced power over the women in his life, dehumanizing him further in their eyes. This act of
control highlights how the patriarchal system prioritizes male desire at the expense of female autonomy.

The setting plays a crucial role in reflecting Adunni’s internal state. The kitchen, where a pot boils yam
and children play outside, paints a picture of normalcy. Yet, this scene is interrupted by Adunni’s turmoil.
The yam peels scattered on the floor, the knife, and the dirt contribute to an overall sense of disorder and
discomfort, symbolizing the chaos in her life.

The bathroom, or "baffroom," is an uninviting and grim space, described as cold, smelling of urine, and
lined with green carpet grass growing on the walls. It mirrors the emotional decay that Adunni feels
inside. Her decision to lie on the bathroom floor, curled up "like a worm," captures her desperate desire to
escape her reality. The cold water and filthy surroundings reflect her emotional and physical isolation,
emphasizing her fear of facing another night with Morufu.

Irony permeates the narrative, particularly in Morufu’s casual demand for "morning food" after a night
of marital rape. For him, life carries on as usual, while for Adunni, the night was nothing short of
traumatic. The disparity between his routine and her agony creates a stark and jarring contrast.

Another instance of irony is found in Khadija’s pragmatic advice, where she treats the abuse as inevitable.
There’s a bitter irony in how the women are forced to manage their suffering with palm oil and hot water,
accepting the abuse rather than questioning its existence. Adunni’s fleeting reflection on the knife,
imagining using it against Morufu, also contains deep irony. A domestic tool, meant for everyday chores,
becomes a symbol of her suppressed desire for rebellion. Yet, she quickly dismisses the thought, showing
how women like Adunni are conditioned to suppress their anger and accept their situation.

Several symbols in the passage further enhance its themes. The metaphor of the early-morning air as a
"rope" twisting around Adunni’s body powerfully represents her feeling of being trapped. This rope
symbolizes the suffocating constraints placed on her autonomy by society and her circumstances. The
Fire-Cracker Bitters consumed by Morufu once again symbolize artificial empowerment, transforming
sex into an act of dominance rather than intimacy. This dehumanization of the sexual experience further
underscores the violation of Adunni’s body and spirit. The ice-cold water in the bathroom, rather than
offering purification, symbolizes the harsh, unrelenting reality of her trauma. It provides temporary relief
from the physical stench of her suffering, but it does nothing to cleanse her emotional wounds.

The cock scratching the earth outside the kitchen serves as a symbol of the world continuing its ordinary
rhythm despite the protagonist’s internal devastation. The cock’s behavior symbolizes the cyclical nature
of oppression within her environment, where daily routines carry on, masking the deep undercurrent of
suffering.

The tone of this passage is one of bleakness and oppression. Adunni’s internal monologue reflects her
sense of hopelessness, as she contemplates avoiding the night altogether by staying in the bathroom. The
interactions between Khadija and Adunni, the cold and decaying bathroom, and Adunni’s thoughts about
Morufu contribute to the overarching sense of entrapment and defeat.

This bleakness ties into the key themes explored in the passage. The trauma of forced marriage and sexual
abuse is presented as a central theme, as Adunni tries to mentally survive the overwhelming violation.
Her brief contemplation of using the knife symbolizes her desire to fight back, but she ultimately
suppresses this urge, highlighting the theme of endurance. Patriarchal oppression looms large, with
Morufu exerting control over Adunni, while Khadija offers a reflection of a woman who has accepted the
same fate. The loss of innocence is another powerful theme, as Adunni yearns for her past, a time before
her autonomy was stripped away. Her forced entry into adulthood brings with it the complete erasure of
the carefree life she once knew.

In conclusion, this passage masterfully uses setting, symbolism, and irony to convey Adunni’s deep sense
of entrapment and trauma. The kitchen and bathroom settings serve as external reflections of her internal
struggles, while symbols like the rope and cold water emphasize her powerlessness. The irony in
Khadija’s pragmatic acceptance of suffering and Morufu’s routine cruelty further critiques the patriarchal
structure that dominates the narrative. Through these literary techniques, the text vividly illustrates the
protagonist’s harrowing reality within an oppressive, dehumanizing system.

Chapter 10

In the narrative, Adunni grapples with a profound internal conflict as she navigates her fears surrounding
pregnancy and her aspirations for education. Her refusal to "bom childrens" (give birth) reveals her
dread of continuing a cycle of sadness and deprivation, particularly in a world where children, like her,
lack access to education and freedom. This moment of self-reflection highlights her increasing awareness
of the oppressive forces surrounding her and her struggle to assert her own dreams.

Adunni's conversation with Khadija about birth control underscores her desperation to reclaim control
over her body. Despite her youth and vulnerability, she demonstrates immense courage by contemplating
ways to resist her circumstances, albeit in subtle ways. The stark contrast between Adunni's idealism,
expressed in her desire for her "head and mind to be swelling with books and educations," and her grim
reality forced marriage, the looming threat of pregnancy, and abuse further establishes her as a resilient
and introspective character. She remains determined to hold onto her dreams despite the overwhelming
odds against her.

Khadija emerges as a multifaceted figure in this narrative. Though she has resigned herself to her role as
Morufu’s wife and the mother of his children, she exhibits warmth and care for Adunni. Her nurturing
side is evident as she provides practical solutions to Adunni’s predicament, offering food, comfort, and
advice on pregnancy prevention. However, a subtle tension exists between Khadija’s outward strength
and her internal resignation. While she claims, "I am fighting with what I have inside of me," her "fight"
occurs within the constraints of traditional roles imposed upon her—motherhood and survival within a
patriarchal society.

Khadija embodies a paradox: while she encourages Adunni to pursue her dreams of education, she herself
has sacrificed her aspirations for the stability of her family. This duality emphasizes her tragic resilience,
showcasing her role as both a victim and a mentor. The setting of the kitchen, where Khadija plucks
ewedu leaves by the stove, serves as a domestic backdrop that starkly contrasts with the heavy emotional
and thematic weight of their conversation. The act of preparing food becomes a stage for discussions
about life, autonomy, and survival.

The imagery of Khadija's fingers,

"dark green and wet from the pinching and twisting of the leaves,"

symbolizes how her life, much like the leaves, is constantly manipulated and shaped by her
circumstances. This ordinary setting amplifies the theme of women’s constrained lives within the
household, where their existence revolves around serving the needs of others.

Irony plays a significant role in this narrative, particularly in the contrast between Khadija’s
encouragement for Adunni to prevent pregnancy and her own acceptance of childbirth as a means of
resistance and survival. While she assists Adunni in seeking ways to avoid motherhood, she
simultaneously frames her own worth and survival through her ability to bear children, stating,
"With it, I can fight to stay here."

This dissonance reveals the limitations imposed on them as women, highlighting the tension between
submission and agency.

Moreover, Adunni’s longing for education stands in stark contrast to her reality as a child bride. Her
aspiration to have her mind "swelling" with knowledge conflicts with societal expectations that demand
she "swell" her body with pregnancies. This juxtaposition underscores the oppressive circumstances that
thwart her ambitions, despite her fierce desires.

The act of plucking ewedu leaves symbolizes the repetitive, labor-intensive work that defines the lives of
these women. The process of twisting and pinching the leaves mirrors how their lives are shaped by
societal expectations and the demands of men like Morufu. The accumulation of a "small hill of leaves"
reflects the weight of their burdens, particularly for Khadija, whose hands grow "dark green and wet,"
conveying her entrapment in a life of endless toil for her family's survival.

Additionally, the creation of a mixture using strong leaves, paw-paw seeds, gingerroot, and dry pepper to
prevent pregnancy represents a symbolic act of resistance, albeit one cloaked in secrecy. This homemade
remedy reflects the resourcefulness of women like Khadija, who rely on their knowledge and limited
means to regain some semblance of control over their lives. The secrecy surrounding this "medicine"
further illustrates the hidden resistance women like Adunni must navigate to assert their autonomy
without openly defying their husbands' authority.

The tone throughout this passage is imbued with a mixture of desperation and camaraderie. Adunni's
escalating fear of pregnancy is juxtaposed with Khadija’s comforting presence, which offers practical
solutions rooted in their harsh realities. Despite an underlying sense of hopelessness especially in
Adunni's internal struggle Khadija’s support provides a measure of comfort and solidarity. The passage
conveys a sense of restrained hope as the characters discover small ways to cope and resist within an
oppressive system.

Central to this narrative is the theme of female solidarity in the face of patriarchal oppression. Khadija's
acceptance of her role as a mother and wife does not extend to imposing these expectations on Adunni;
instead, she champions Adunni’s desire to delay motherhood and offers practical guidance to achieve it.
Their shared experiences of suffering forge a bond that transcends the oppressive dynamics of Morufu’s
household.

The theme of reproductive control as a form of resistance emerges as a major focus. Adunni's fear of
pregnancy intertwines with her quest for autonomy and education. In her world, motherhood is both a
duty and an expectation, yet for Adunni, it signifies a loss of freedom and a barrier to her aspirations.
Khadija’s knowledge of natural remedies to prevent pregnancy, while not a guaranteed solution, offers
Adunni a glimmer of hope and control over her future.

Both Khadija and Adunni find themselves trapped in a cycle of oppression, where their worth is measured
by their ability to bear children. While Khadija has carved out a means of survival within this framework,
Adunni seeks a path to escape it. This narrative poignantly illustrates how women navigate their roles
within a deeply patriarchal society, often sacrificing their dreams and autonomy in the process.
Ultimately, this passage employs a domestic setting to explore profound themes of female autonomy,
solidarity, and resistance. The irony of Khadija encouraging Adunni to resist pregnancy while resigning
herself to it adds complexity to her character. Simultaneously, Adunni's internal conflict regarding
pregnancy and education reflects broader struggles faced by women in oppressive societies. The use of
symbolism, particularly through the imagery of leaves and medicine, alongside a nuanced tone of quiet
resistance, highlights the emotional depth of the characters and the harsh realities of their lives.