"Don't Tell Me Not to Live"

I love short stories, but find that I rarely read collections. Short stories offer something that, in my opinion novels infrequently contain: pure character development. Yes, a novel allows for the author to have more time to delve into a character’s arc, and possible change. However, with this large amount of space, comes the responsibility of filling it with plot to understand the character. Short stories on the other hand, allow for an in-depth view of a character without the need for plot. Few writers truly accomplish this task, but Chimamanda Ngozi Adichie is most certainly one of them.

Two stories that I felt fully achieved this effect were “A Private Experience” and “Ghosts.” Both of the tales did use plot, but unlike the others the plot was weaker and mainly faded to the background, with the characters’ feelings being the forefront of the works. In the former, Adichie narrates, “Chika raises her hand to her forehead, as though checking for a malaria fever. The touch of her cool palm usually calms her, but this time her palm is moist and sweaty” (46). I felt as if this quote was an emotional summary for the short story during my first read. The entire experience concerns Chika’s distress and horror at the riot. Her lack of control – something which she rarely has – frightens her. This quote is represents the main character’s deficiency. By describing a ritual that fails to calm her in this instance, the reader is able to understand her character more fully, and comprehend why she will later never believe that her sister is dead.

The final story, “The Headstrong Historian” is my favorite. The narrative stood out to me for many reasons. Firstly, it was set during a much earlier time period than previous stories. While most tales talked of semi-modern Nigeria and America, this story focused on colonialization. Secondly, it reminded me of Chinua Achebe. The prose style, as well as the content, was very similar to his Things Fall Apart (1958).

However, what touched me in the story was the titular character, Nwamgba’s granddaughter. While her son loses his connection with the tribe and culture, Afamefuna brings the family full circle and regains her tribal roots. Her almost constant reevaluation of herself throughout the story to fully understand who she is as a person and from where she comes pushes her to have pride in herself and her past, despite what others say. Her strength greatly impressed me. Few characters within The Thing Around Your Neck had the courage Afamefuna possessed. Yes, many of them took a stance. Yes, they dreamed of gaining what they wanted. But none had the bravery of Afamefuna to truly question one’s culture and find the past with which they identified.

Adichie defines Afamefuna as “My Name Will Not Be Lost” (214). This almost prophetic name is realized much later in her life during two crucial moments: when she changes her major to history and when she divorces her husband. Both decisions exemplify her straying from her ‘raised’ culture that her father taught her and focused instead on her tribal culture, so that it will not be lost.

“Don’t tell me not to live

Just sit and putter

Life’s candy and the sun’s

A ball of butter

Don’t bring around a cloud

To rain on my parade”

-          Barbra Streisand, “Don’t Rain on my Parade”