Purple Hibiscus

Mama’s past sense of loss fades, and her purpose for living is renewed when her pregnancy brings hope of new life and fresh blood to the family. Tragically, one of Papa’s monstrous episodes robs Mama of this hope when he beats her for tending to her own health instead of attending Mass as ruled in the Scriptures. We see here how the appearance of righteousness overwhelms and in fact ruins actual spirituality. The beating, done privately in their opulent bedroom, indicates secretiveness and fear despite beautiful surroundings. Afterwards, the aggressor lacks contrition, and Mama's therapy involves cleaning her cherished figurines, as if cleaning her soul and preserving her femininity. These same figurines, as the reader knows, will later be destroyed.

The family’s cycle of violence repeats later in this section when Kambili does not make first girl at school and is severely chastised. According to Papa, God expects perfection; in reality Papa contributes heavily to the school, so he expects perfection from Kambili. This is one of many comparisons of Papa to God in terms of power structure within the family, but also shows that he expects a quid-pro-quo: if one does things in exactly the "right" way, he or she will be rewarded. Unable to live up to Papa's expectations, Kambili runs to avoid further punishment; at various points in the story, running symbolizes her desire to obey and escape and a strength she can call her own.

Rebellion is afoot in the city. Papa’s power lies in his newspaper, which publishes “truth” when other newspapers do not. His idea of truth opposes the military and politicians currently in office, ironically criticizing their drunken power in civil society while he also rules without mercy in his personal conduct. The fact that he fails to see this irony makes him equally blind to the turmoil building in the family structure—the disintegration of the country parallels the family’s erosion.

Father Amadi's visit to St. Agnes church echoes the familial divide that mirrors the upcoming Nigerian civil war. Kambili and Jaja enjoy the priest's presence, his singing and performing Catholic rituals in a slightly different way, while the elders do not. This signals the novel's major recurring conflict: maintaining traditional customs while incorporating new tenets that reflect a changing world.