For three nights in a row after finishing Chimamanda Ngozi Adichie’s Americanah I found myself missing Ifemelu and Obinze.
It was about 11 at night, and I was sitting in bed with the vastness of the Oakland sky outside my window. I reached to my side table and held Adichie’s book, still in awe of how one book could contain multiple worlds. How one book could illustrate timelines and lifetimes.
I saw myself in the pages, along with Ifemelu and Obinze, the two main characters of Americanah. Ifemelu, with her “prickliness.” Obinze, with his tenderness.
Reading about their lives unraveled a reality that was a little bit familiar, albeit entirely different. As I turned each page, I knew that I resonated with the book so much because of two things: immigration and the (im)possibilities of long-distance love.
When Ifem (a nickname from Obinze) moved to the U.S., her experience as a non-American Black woman was amplified. It was new to her, much as being a Filipino was new to me.
I finished reading Chimamanda Ngozi Adichie’s novel Half of a Yellow Sun a day before April 14, 2016, which marks the 2nd anniversary of #BringBackOurGirls. Back in 2014, the militant group Boko Haram kidnapped about 276 Nigerian schoolgirls from the Chibok Government Secondary School in the middle of the night. Over the weekend, Pope Francis also arrived at the isle of Lesbos in Greece to show support to the Syrian refugees. To date, there are 4.6 million refugees from Syria, with 6.6 million displaced within the country after civil war broke out in 2011.
With the news cycle and a heart-wrenching experience with the book, all of these things were on my mind.
Photograph: Philip Ojisua/AFP/Getty Images
Half of a Yellow Sun is a novel set in Nigeria in the ’60s — before, during and after the country’s independence, followed by a brutal civil war. The twins Olanna and Kainene are two of the story’s main characters, whose lives shift dramatically at every turn of event that rocked the country’s political, economic and social stability.
The twin’s lives are intertwined: Olanna leads a life with Odenigbo, her “revolutionary lover” as Kainene calls him, along with a group of intellectuals they drink and opine with in the cool evenings; Kainene opts to run their family businesses along with her lover, an aspiring British writer, Richard Churchhill.
“This Odenigbo imagines himself to be quite the freedom fighter. He’s a mathematician but he spends all his time writing newspaper articles about his own brand of mishmash African socialism. Olanna adores that. They don’t seem to realize how much of a joke socialism is,” said Kainene to Richard.
Artist: Ayeola Ayodeji