logo

35 pages 1 hour read

Chimamanda Ngozi Adichie

The Headstrong Historian

Fiction | Short Story | Adult | Published in 2008

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.

Literary Devices

Antithesis

In the narrative, two books are made with contrasting ideas: “The Pacification of Primitive Tribes in Southern Nigeria” and Afamefuna’s own Pacifying with Bullets: A Reclaimed History of Southern Nigeria. The books parallel each other with their repeated language (pacify, Southern Nigeria) and their topic, but their titles also highlight their fundamentally opposing ideas—a rhetorical device called antithesis. The first book justifies the presence of European colonial powers and their affiliated institutions in African territories in their mission to “civilize” what European powers considered “primitive” people for their own gain. The title itself highlights the complete disregard for the existing culture, history, and complex societies that live in Southern Nigeria and implies an arrogant perspective that seeks to subsume these societies for their own good. By contrast, the oxymoron in Afamefuna’s book title (Pacifying with Bullets) underlines the truth and violence behind this so-called “pacification” by European powers, the bloodshed that results from European oppression, and the need to take back what was stolen: their history and cultural identity.

Anaphora

In the last segment of the story, when Afamefuna returns to her grandmother’s side to be with her as she dies, the author throws the story into the future and formats her sentences to start with the same words: “It was Grace who” (216-18). This anaphora creates two effects. First, since this segment depicts Grace’s—or Afamefuna’s—future struggles with her education, her family, and her career over her Nigerian identity, and the repetition of her non-Nigerian name emphasizes the moment she decides to legally change it to Afamefuna. The change indicates a resolution in her feelings of distorted identity and rootlessness, as she fully accepts the name “who will not be lost” and proves its meaning to be true. Second, the anaphora underlines how troubling and isolating reclaiming that identity can be because no other person in her family sought to do so themselves—it is only Grace. While Afamefuna questions her upbringing, her father, brother, and mother presumably do not.

Allusion

Chimamanda Ngozi Adichie uses the Nigerian slave trade to allude to a greater evil, that of the white men’s slave trade, also known as the Transatlantic slave trade. For Ayaju and her children, her father’s enslavement leaves a marker on their social status in the community, but when Iroegbunam is abducted to be sold into slavery, there are greater horrors than restricted social mobility. As a child, he hears a fellow abductee cry out about how “she knew she was to be sold to the white man, and did they not know that the white man’s slavery was very different, that people were treated like goats, taken on large ships a long way and away and eventually eaten?” (206). Here, the author alludes to the way people who wish to downplay chattel slavery’s catastrophic consequences often reference the existing slavery in Africa. While acknowledging that reality, Adichie also underlines that Nigerians are not to be judged on the same standards as white colonizers, who used any opportunity to exploit and render Nigerians to their service in horrible ways.

Flashforward

A flashforward refers to a jump in the chronological narrative to a future point in time. In the story’s last pages, Adichie shows her reader Afamefuna’s long-term future to demonstrate the difficulties she needs to navigate in order to reclaim her cultural identity. Doing so highlights just how much time and effort is necessary to heal and reclaim one’s cultural personhood from the clutches of Western indoctrination, while nevertheless noting the compromises and allowances one must make for those who cannot and/or will not make the same journey—as is Anikwenwa’s case. Cultural reclamation is a messy process, and though Nwamgba will not live to see her granddaughter reclaim her Nigerian identity in full, the reader glimpses it at this moment in her stead and knows there is hope for restitution. The flashforward also reaffirms the story’s emphasis on matrilineal cultural heritage, showing concretely how Nwamgba passes her values and culture to her granddaughter.

blurred text
blurred text
blurred text
blurred text