Gender-based violence is a common phenomenon in a society that is rooted in gender inequality, and it continues to be one of the most notable human rights violations that intersect all cultures, race, ethnicities, and status (Nutsukpo). Gender-based violence, also referred to as violence against women, is “violence that is directed against a woman because she is a woman or that affects women disproportionately” (OHCHR). This includes “acts that inflict physical, mental or sexual harm or suffering, threats of such acts, coercion and other deprivations of liberty” (OHCHR). From this definition, gender-based violence refers to different forms of harmful behaviors directed at women and girls based on their sex.
One form of gender-based violence is domestic violence, which is the most prevalent form of violence against women (Asagba). This type of violence is prevalent in Chimamanda Adichie’s Purple Hibiscus, which revolves around the Achike family in Nigeria. The domination of women is the most fundamental form of female subjugation in the African society, which is largely due to the patriarchal culture embedded in African society that encourages prejudices against women, and accepts the assault of wives (and, by extension, children) by husbands as normal (Nutsukpo). Therefore, physical and psychological forms of domestic violence are a regular feature in many African homes—particularly Nigeria—a situation that is depicted by Adichie’s novel Purple Hibiscus.
To neighbors, Eugene is very dedicated to his faith and the church. This is shown in the first few pages of the novel as it describes Eugene compared to others in the church: “Most people did not kneel to receive communion at the marble altar… but Papa did. He would hold his eyes shut so hard that his face tightened into a grimace” (Adichie 4). Eugene is held in high esteem by both the priest and the congregation of the church he attends regularly with his family. Adichie, however, highlights Eugene’s inherent violence at the opening of the novel: “Things started to fall apart when my brother, Jaja, did not go to communion and Papa flung his heavy missal across the room and broke the figurines in the étagère” (3). With this quote, two facets of Eugene’s life—the devoted Christian on one hand and the violent abuser on the other—combine, presenting a vivid image of his dual personalities (Nutsukpo).
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Although the thrown missal missed Jaja, the figurines that serve as an outlet for Beatrice’s pain are broken: “I used to wonder why she polished them each time I heard sounds from their room…She spent at least a quarter of an hour on each ballet-dancing figurine. There were never tears on her face” (Adichie 10). Each time Eugene abuses Beatrice, his wife, she goes downstairs and cleans the figurines to deal with her pain and humiliation. Evidence of physical abuse from Eugene to Beatrice is seen throughout the novel.
The children become silent witnesses and victims of Eugen’s extreme violence as is evident in Kambili’s revelations: “Mama was slung over his shoulder…we cleaned up the trickle of blood, which trailed away as if someone carried a leaking jar of red watercolor all the way downstairs” (Adichie 33). Beatrice was beaten to a state of miscarriage simply because she suggested she stay in the car after Mass, instead of meeting with Father Benedict with the family. This also makes the reader wonder if her previous miscarriages were a result of physical abuse as well. Because of the role of women within society as well as in religious practices where the husband is the head of the family, Eugene is given the power to exert violence over Beatrice due to domestic abuse being condoned in Nigeria (Asagba).
In addition to physical violence, Eugene subjects his family to various forms of physiological trauma. An example of this would be the strict study regimen which denies the children many of the joys of childhood (Nutsukpo). Eugene draws a daily schedule for both Kambili and Jaja that organizes when they can study, when they can have family time, when they can eat, pray, and sleep. Not only does he organize their day, “he revises them often” (Adichie 24). Kambili describes this behavior as him liking order, but it truly shows how controlling he is as a father. These schedules deprive the children of watching television or listening to music; essentially, it stunts their development as children. Many parents in Nigeria, particularly fathers, believe that controlling their children in this way instills discipline in them. They think this behavior is right because children are possessions or objects by extension of their wife’s subjugation (Asagba). This is due to the belief that men are superior and that the women with whom they live with are possessions to be treated as they deem fit (Asagba).
Because of Eugen’s psychological violence, Kambili is severely handicapped in her interaction with others, lacking the ability to communicate confidently with those around her (Nutsukpo). Because of this, she whispers. It takes the attention of Father Amadi to repair her self-esteem and worth. With him, she smiles, laughs, and runs because he instills in her self-confidence and hope through his encouragement. He assures her that she “can do anything you want, Kambili” (Adichie 239).
In conclusion, domestic violence is common in Nigeria as depicted by Eugene Achike as he dominates and inflicts injury on his wife and children, physically and psychologically in Chimamanda Adichie’s Purple Hibiscus. While he is a model citizen outside of his home, it contrasts with who he is inside the four walls of his house. With his family, he physically abuses his pregnant wife to the point where she miscarries their child. Also, he displays a violent outburst when his son refuses to participate in communion, breaking his wife’s only outlet for her pain. Psychologically, he controls his children’s every move, which stops them from experiencing their childhood to the fullest. Overall, Eugene is a symbol that signifies that African society is patriarchal and that a woman’s place within the society is decidedly subordinate (Asagba).
References
- UN Women – Facts and Figures on Ending Violence Against Women
- National Sexual Violence Resource Center – Statistics
- International Labour Organization – Gender-based violence at work
- Centers for Disease Control and Prevention – Intimate Partner Violence
- National Center for Biotechnology Information – The Intersection of Substance Use, Intimate Partner Violence, and Child Maltreatment article
- United Nations Statistics Division – World’s Women Report 2020
