February 2007

Half of a Yellow Sun

Author: Chimamanda Ngozi Adichie
Publisher: Harper Perennial
RRP: £7.99

Review by: Andrea Enisuoh

Chimamanda Ngozi Adichie was highly praised by the public and critics alike for her debut novel Purple Hibiscus, the touching story of a child exposed to religious intolerance. Now with her second offering, Half of a Yellow Sun she looks set to take her place amongst some of the greatest African writers.

In her thoughtful and challenging new novel Adichie has written a potential classic. Even Chinua Achebe, the acknowledged Godfather of African Literature has noticed her extraordinary talent. She is "endowed with the gift of ancient storytellers", he says, and she "came almost fully made".

High praise indeed, but after reading Half of a Yellow Sun, you have to accept it is clearly deserved. Here is a book that takes issues of politics, relationships and tribal conflict and presents them in a gripping tale of Nigeria’s recent history.

Based loosely on political events in 1960s Nigeria, the story takes us from the hopeful, upbeat times of pre-civil war Nigeria, right through to the brutal days of the Biafran War. Never flinching from the realities of that brutal civil war we are presented with horrific images including the rape of women and the murder of innocents.

Just as much as this book is about the Nigerian civil war it is also about relationships. Family ties, lovers and friendships are all explored, as is the effect the war has on these ties. As with her previous work, Adichie’s writing is character driven. Her creations are so well rounded they come to life in a way rarely seen. You actually want to spend even more time with these people – despite their flaws – than the book allows for.

At the centre of the story are two Igbo sisters, the once close twins Olanna and Kainene, who drift apart as the newly independent state struggles to maintain unity. Beautiful Olanna falls in love with an authoritative university professor whose much vaunted political convictions belie his many personal weaknesses.

In the meantime Kainene becomes involved with an introverted, studious English ex-pat. Then there is Ugwu, the 13-year-old houseboy employed by the university professor. As the conflict develops all three are forced to flee, with ideals and loyalties to each other severely tested along the way.

Here is a historical tract with colour and emotion. No polemic, Adichie clearly illustrates who she believes is to blame for the conflict and suffering. From arrogant local leaders to the outside world whose indifference prolonged the war, every attitude is exposed.

What makes this hard-hitting novel palatable in places that other writers may have fallen down is her clear gift for storytelling. From the image of women collecting water and children playing innocently in the playground, to the vividly depicted slaughters and rapes, each act is illustrated in equal measure.

With unadorned and graceful sentences, Adichie portrays a horrific time in Nigeria’s history with the voice and eye of a gifted storyteller. Each beautifully crafted page is a credit to Adichie and to African literature. She immerses us fully in a crucial time in Nigeria’s recent history and with her balanced account, we are all the better for it.

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